English) Handwriting)

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:Important Information

Graphology is the study and analysis of handwriting. This can effectively assess the writer’s traits/personality. Scientific Handwriting Analysis is used primarily for authenticating a document or signature and has little to do with that person’s make-up or personality.

Before the analysis, if not performed face-to-face, the responsible graphologist is required to know the writer’s age, --- and nationality – none of which will be revealed in the writing.

Graphology can effectively determine that individual’s personality and myriad of unique traits, including his/her strengths and weaknesses. We all write differently. That is because we are all different. The slant of the letters, their pressure, size, breadth, height and spacing between the letters along with a myriad of other signs, represent the different aspects of the writer’s personality.


:Historical Background

It may surprise you to know that Graphology dates its genesis back to 1622 and perhaps even earlier.

Throughout history, scientists, philosophers, artists and others have been interested in the relationship between the handwriting and the writer. This interest appeared as early as 1622. Efforts at handwriting analysis began in 1872, with the work of the French abbe, Hypolite Michon, who gave graphology its name. Michon and his compatriot, Jules Crepieux-Jamin developed the school of isolated signs. This attempted to relate specific handwriting elements to specific human traits.

It took a while. In 1910, Milton Newman Bunker, a shorthand teacher, in Kansas, let his curiosity get the better of him. He wanted to know why, as a penmanship student, he had put wide spaces between his letters and long finals on his words. He began to study the graphology that began in Europe and realized that it was a “hit” or “miss” environment with major contradictions stated by various authors.

In 1915, Bunker made his unique discovery. He recognized that each of his students formed shorthand strokes in a unique manner. He suddenly and clearly realized that it was not the letter which had a trait meaning but the strokes – the shape of the formations within the letter. Graphology suggested that an O with an open top – that is a space opening, indicated a person who would speak very openly and often. He checked and found this to be true. He thought, however, that logically, other letters with the same circle formation (a,g,d & q) should have the same meaning and after checking carefully, he found that they did.

After traveling thousands of miles, and interviewing thousands of people and examining more than half a million handwriting specimens in his lifetime, the copyrighted American System of handwriting analysis – Graphoanalysis was born.

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PURPOSE


Reading old German records requires a knowledge of basic German genealogical terms and familiarity with German handwriting. Difficulty in reading a record may not result from a record keeper’s poor penmanship but rather the use of a different style of handwriting. As most early German documents were written in some form of Gothic handwriting or printing, familiarity with this style of writing will aid in deciphering early German records. This guide introduces common Gothic letters, type, and handwriting used in German records.


HISTORICAL BACKGROUND



Two major styles of writing emerged in Europe: Gothic, which has been used since the ninth century, and Roman, also known as Antigua or Latin. Roman eventually became the standard throughout most of western Europe, Canada, and the United States, but the Gothic style prevailed in Germany until 1941, in the Czech Republic through the 1700s, and in Scandinavia and the Baltic countries through the nineteenth century.

You may find Gothic or Latin handwriting styles used alone or together in the same German record. For example, names and headings may be written in one style and the text of the document in another.

The chart included with this guide lists both the standard printed and handwritten Gothic forms of the German alphabet and their Roman counterparts. Since handwriting varies from person to person, the handwriting in your record may vary from the forms shown on the chart.

You may also find variations of Gothic script. In various regions of the German Empire, slight variations of Gothic handwriting and type developed. Variants included “Schwabacher” and the more formal “German Fraktur.”

When printing by moveable type was invented, typefaces were based on the handwriting styles of the time. Two major styles emerged corresponding to the two handwriting styles: Gothic, with pointed, heavy-bodied letters, and Roman, with lighter, more simple letters.


GERMAN ALPHABET



German has all 26 letters used in the English alphabet, plus a few additional letters: umlauted vowels—ن, ِ, and ü—and an Eszett, ك. Specific information about these additional letters is given later.

There is often no distinction made between the capital I (I) and the capital J (I). They may be represented by the same letter whether printed or handwritten and may be also indexed as the same letter. When followed by a vowel the letter is a consonant, J and when followed by a consonant, it is a vowel, I. For example:

Juli (Juli) = July
der Junge (der Junge) = boy
die Idee (die Idee) = the idea
die Insel (die Insel = the island)


PRINTED GOTHIC



Books or forms published with Gothic typeset can be difficult for someone to read. Some of the Gothic letters are similar to Roman style print, but others are quite different. The following letters will probably seem unfamiliar at first: k (k) , x (x), G (G), H (H), S (S), ك (ك), and T (T). In addition, as several of the letters are very similar, you will also need to pay particular attention to the small distinguishing characteristics to be able to read typed Gothic. These include the letters:

A and U (A and U),
s and f (s and f)
B, V, and ك (B, V, and ك)
b and v (b and v)
C and E (Cand E)
k and t (k and t)
G and S (G and S)
n and u (n and u)
K and R (K and R)
r and x (r and x)
N and R (N and R)
v and y (v and y)

There are some tricks that will help you recognize Gothic letters. Note which letters extend below the line of writing and which extend above. Some letters extend both above and below. Some letters extend neither above nor below, such as the letter a.


Gothic print also has ligatures (multiple letters printed as one letter) and diacritics (accent notations added to a letter) not found in English. In German certain consonant combinations are common. The early designers of Gothic type used one type piece to print both consonants. The most common ligatures are:

- ck < sz , ك - sz } - tz [ , ك - ss

The Umlaut (sound shift) is commonly used with three vowels: a, o, and u. It appears as two dots placed over the vowel and indicates a change in the sound of the vowel. These sound shifts are often written without the diacritic marks:

ؤ ن = Ae ae = ؤ ن = Ae و
ض ِ = Oe oe = ض ِ = Oe œ
ـ ü = Ue ue = ـ ü = Ue ue

Occasionally two dots were also used over the y (ے, ے) and over an e as in Noël (Noël) and Michaël (Michaël). In these instances, there is no change in pronunciation of the letter beneath. The dots over the y are carried over from Latin when the double i at the end of a word was written, ‘ij’. (Latin did not have the letter j or y). The dots over the e indicate that the e is pronounced with its own value (it is not part of an umlaut).

Another marking found over letters is the U- bogen, or u-hook. This was a marking like a curved dash placed over a u to distinguish it from an n. This is not to be confused with a straight line placed over an m or n which was used as a shorthand abbreviation for a double letter or leaving out additional letters, as in Joha for Johann or Joes for Joannes (Latin form of Johannes).

German has an additional letter not found in English, called an Eszett (ك). It looks like a Roman script capital B with a tail on top (ك). It is pronounced and sometimes rewritten as a double ss. It is never found at the beginning of a word.


HANDWRITTEN GOTHIC



With handwritten documents, it is not always easy to tell where one letter ends and the next one begins. Many of the letters also have similar shapes making it difficult to tell one letter from another. Practice writing your name and other words in the Gothic alphabet until you can develop a feel for the flow of the letters. This will help you read documents more easily.


When reading German records, you may experience three common problems:


•Gothic letters may look like those you are used to in Roman script, and you will think they are the Roman letters. For example, the v may resemble a w and a w might resemble an m.

•Some Gothic letters may look like other Gothic letters. For example, the following letters may appear very similar to each other in Gothic script and must be carefully distinguished:

e, n, u g, p, q s, h, f, j B, C, L r, v


•Some Gothic letters may be entirely new to you. For example, the Gothic lowercase letters e, h, and s and the Gothic capital letters B, C, H, and S are quite different from the Roman letters.

With practice you will learn to recognize Gothic letters. By studying particular letters, you will be able to read the Gothic handwriting much more accurately. Learning key German genealogical terms will also help.

When a letter cannot be identified in a document, look for the same letter or word in another part of the document. It may be clearer, or the context may make it easier to figure out. Also look for an index. Indexes to German records were often made much later than the original documents and may include the names in a style of handwriting which is easier to read.

Since every individual’s handwriting is distinct, you may wish to prepare a handwriting chart with the alphabet for the particular style used by the scribe who wrote the records you are researching. In particular, note letters that are different than those you are used to.



HOW TO USE THE CHART FOR GERMAN RESEARCH


The following chart shows Roman letters with typed and handwritten German Gothic equivalents. To learn this style, practice writing it. This will help you develop a feel for the way letters are written and distinguish the letters when they are written differently

Dozensof guides and handbooks have been written to assist people in reading German Gothic script. Studying these books will help you to see variations of the script. Most guides for genealogists include examples of names, occupations, and genealogical terms showing how they look in both Roman and Gothic handwriting.

The following is an excellent introductory guide to reading names and genealogical records. It was produced to help people who are unfamiliar with Gothic script:

German Records Extraction—Script Exercises. Salt Lake City, Utah: Family History Library, 1980. (FHL book 943 D27gs; film 1224522 item 1.)

Other helpful guides include the following:

Bentz, Edna M. If I Can, You Can: Deciphering Germanic Records. San Diego, Calif.: Edna M. Bentz, 1982. (FHL book 943 G3b; computer number 0170537.)

Mashey, Anne B. A Guide to Olde German Handwriting of the Mid-1800s for Genealogists, Researchers, Antiquers. Wexford, Pa.: Anne B. Mashey, 1982. (FHL book 943 G37n no.2; computer number 0205085.)

Storrer, Norman J., and Larry O. Jensen. A Genealogical and Demographic Handbook of German Handwriting, 17th–19th Centuries. Pleasant Grove, Utah: Norman J. Storrer, 1977. (FHL book 943 G3sj; computer number 0246694.)

Verdenhalven, Fritz. Die deutsche Schrift—The German Script: Ein ـbungsbuch [an exercise book]. Neustadt an der Aisch: Verlag Degener & Co., 1991. (FHL book 943 G37v; computer number 0651425.)

©1998, 2001 by Intellectual Reserve, Inc. All rights reserved. Printed in the USA. No part of this document may be reprinted, posted on-line, or reproduced in any form for any purpose without the prior written permission of the copyright holder. FamilySearch is a trademark of Intellectual Reserve, Inc.

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On the eve of a conference on identities, we take a look at the evolving cuisine of British Asians, the rise of Scouse and handwriting analysis

Jane Caplan explores the history of script in Europe at the turn of the 19th century
Anyone who has ever puzzled over an exam script in an attempt to exhume whatever content is interred in the candidate's illegible scrawl will understand the importance of handwriting. But there is more to it than legibility, as any palaeographer or forensic scientist can tell you. In a culture dependent on handwriting - and this is still the case today, despite all things electronic - its recognition and verification assume great importance in everyday transactions. Today, the signature on a forged cheque or other legal document is probably the most common type of disputed handwriting. But in the past, when entire documents were handwritten, forgery lurked menacingly in the shadows of every legal system inthe increasingly documentary culture of modern Europe.

The detection of disputed handwriting has a long history in Europe, and the profession of handwriting expert - still with us - is several centuries old. The first organised corps of handwriting experts, distinct from the scribes and clerks who wrote the documents, emerged in 16th-century France, where laws regulating the use of official writing were becoming increasingly strict. Although practitioners achieved official recognition in the courts, the profession's claims to expert knowledge and legal standing were repeatedly contested by dubious scribes and lawyers.

Claims that individual handwriting could be reliably verified were re-engaged in the late 19th century on a pan-European scale, when - as my research so far suggests - the new sciences of criminalistics and psychology converged to foster renewed interest in handwriting interpretation. This had a dual face: handwriting expertise, the forensic examination of forged or fraudulent hands; and graphology, the interpretation of character from handwriting.

Although we might think of graphology as a typical 19th-century pseudo-science, and therefore might expect the handwriting experts to want to distinguish their forensic expertise from the more florid claims of graphologists, there was actually a good deal of overlap between the two.

True, in 1899, a sceptical French student of the subject declared dismissively that "there is no such thing as graphology, only graphologists". But Hans Schneickert, a big figure in the small world of forensic science, devoted considerable attention in a 1906 treatise to the "unconscious transference of the soul" enacted by handwriting: by which he meant that the act of writing out words, character by character, revealed an unintentional "graphic image" of the writer's individuality, if not exactly his psychology.
In fact, graphologists such as Ludwig Klages, the 19th-century founder of modern graphology, were probably more dismissive of the allegedly mechanistic vision of handwriting experts than vice versa.

Graphologists pointed out that writing is a cultural practice, and writing style indents itself through all kinds of processes that are subject to physical, social and psychological influences. This was what Schneickert and his colleagues recognised, if on rather different terms. But it helped to explain why the superficial comparison of morphological resemblances was incapable of revealing whether two specimens of writing came from the same hand - an issue handwriting experts had been arguing about since the 17th century. Deviations from the norm, whether cultural or personal, crept in unintentionally but inevitably.

Handwriting experts were well aware of the paradox that a reliable clue to a forged hand, especially a signature, was that it too closely resembled an exemplar from which it had been too painstakingly copied: in this case, identity would be evidence of falsity.
This is why I have been prompted to explore the history of handwriting in Europe at the turn of the 19th century. Just as the experts argued that handwriting was an accidental messenger of the unconscious, so I would also contend that the discourse of these experts, when probed carefully, will communicate unintended lessons about the social and cultural assumptions and practices of identity and identification.

Jane Caplan is a fellow of St Antony's College, Oxford University. She is writing a history of individual identification as an official practice.

29 June 2007
Jane Caplan

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It is obvious to many people that we are moving through a sea change in the relationship of church and society, clergy and the people of God

As Jack Shea points out in his article on Models of Priesthood (p.10), there is massive conflict coming as laity and priests are heading in different directions. The retrogressive move by church authorities towards a strongly cultic model, a move which has been prevalent under this 25-year pontificate has no resonance among young people today. This is perhaps the reason that many men recently ordained, are finding themselves in treatment centres. Few parishioners are buying their ecclesiology

A Rubicon was crossed at Vatican Il which redefined the church as the "people of God," lay and clergy together, the priest moving with the people into the holy muck and mire of the world. The church would be incarnated in the world as the healing sacrament of prophetic engagement and ultimate reconciliation. It was based on the belief that the signs of the times, potent with God's grace were not movements to be feared

Generous young people, many of whom would have chosen religious life in decades past are now assuming dramatic and idealistic roles in the "secular" world. Energized and validated by the call to universal holiness at Vatican 11, the best educated generation of Catholics have intuited Lord Acton's observation in the 19th century: "God's handwriting exists in history independent of the church."

The Kielburger brothers (p. 14) are typical of the many selfless young people in touch with the pulsating call of the Holy Spirit in history. We encounter legions of these young people in the great social movements of our time but, sadly, to many of them, the church has the odour of embalming fluid. The institution is the worse off

One should only look at the lack of energy in parishes today. Staffed by aging priests and surrounded by people of similar age, not of progressive mindset, they are not players in the major issues of the day. One senses a low-level depression, people shuffling through lifeless liturgies, only to repeat them the following week

There is no sense that the gospel is the great adventure, the leaven in the loaf or the light on the hill. A new Babylonian captivity of suburban predictability, periodic charity and numbing normality represents a badly truncated gospel

On the other hand, few parishes are in trouble for taking strong stands on behalf of the voiceless. So few are these, the God who energizes seems to have left the building. In other secular communities who are attempting to alleviate human suffering, the young are meeting the Holy Mystery

In many ways the genie is out of the bottle. What appears to be ecclesial chaos and diminished church attendance is in reality the people of God finding their voice and, as Mary Rice suggests in her article, (P.16), their baptismal legs. Like the Markan story of the paralytic (Mk 2:1-12) they are heeding the voice of their Lord "Stand up, take your mat and go to your home."

The parishioners of Martin of Tours (CNT Sept 26 and p. 6) are doing this. Faced with an institution where lay people are merely tolerated and often patronized, they leave. Dawn Bazely's letter on page 2 is typical of the women of this generation. Too many have picked up their mats with the values the Church gave them and moved on. A patriarchal church is the loser: as one United church minister told us, her parish is filled with ex-Roman Catholics

John's gospel reminds us that "the Spirit blows where it wills" (3:8), As we sat around our editorial table recently, we described the signs of life we saw. One member who went to Fr. Thomas Keating's recent seminal- on Christian meditation discovered a vibrant lay movement, well-organized and non-hierarchical. Another person pointed out that Bishop John Shelby Spong attracted 600 people to a United Church in Peterborough with his prescient warning that Christianity must change or die. Moreover, hundreds of believers came out to the launching of a book challenging corporate globalization

.In an ice age, there is so much to be grateful for, the unquenchable Spirit

2004 .Catholic New Times, Inc
2004 Gale Group

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.Many people do not know that 'Cursive' just means 'Joined-up'. It is not the name of any particular style

.by Christopher Jarman M Ed, Dip Ed, Cert Ed

".These rules apply to all Western handwriting regardless of the so-called copybook style"

1. Good writing is based on a pattern of ovals and parallel lines

2. All small letters start at the top

3. All the downstrokes are parallel

4. All similar letters are the same height

5. All downstrokes are equidistant

6. The space between words is the width of the small letter o

7. Ascenders and descenders are no more than twice the height of small letters, preferably less

8. Capital letters are no higher than the ascenders, preferably less

9. Lines of writing are far enough apart for ascenders and descenders not to touch

10. Letters which finish at the top join horizontally

11. Letters which finish at the bottom join diagonally

12. Letters which finish on a stroke moving left, are best left unjoined

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[

This comprehensive book for teachers has been used in UK schools since 1979 and has never been bettered

First published by Blackwells of Oxford

It contains 150 pages of resources on the history of handwriting, things to do, and interesting facts about the subject

.There are 51 photocopiable copy pages

The Development of Handwriting Skills set consists of

One. A Resource book for Teachers

Two. Six copy books

Three. Six photocopiable work books

by Christopher Jarman DipEd, MEd

[گیسو]

Hi my dear
thank you so much for this useful topic
It was so intersting

thank you a lot

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Instructions

Step 1 First gather a variety of different types of pens from around the office or home. Try each pen out on piece of paper by signing your name, to determine which type of pen you write better with. You may be amazed that just by changing to a different pen, your handwriting may be improved two folds

Step 2 Practice holding your pen different ways. Do not just do what feels right, because that is just old habits coming back to play. Try to hold the pen light and do not squeeze hard. Write your name a couple of times to get a feel on which way a pen is held to get the best results for you

Step 3 Use your chosen pen to write capital O's on the lined paper. Fill all the lines. Be aware of what you are writing, it will not help you as much if you just put a lot of sloppy O's on a paper

.Step 4 Do this as often as possible. Remember, practice makes perfect. Take weeks or months if you need to

.Step 5 After you are confident in your O's, do the same thing with your initials to your name. Use cursive

.Step 6 As your handwriting shows improvements go ahead and do the same thing by writing signature

.Step 7 Practice, practice, practice

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There are three components to handwriting, whether a child is learning to print or write in cursive: correct letter formation, uniform letter size, and uniform slant. Children should focus on one objective at a time-first, correct formation, then size, then slant. Have them work on several, but not all, letters, forming letters and then words. Once assigned letters are formed correctly, emphasize uniform size-lower case letters consistently half the size of upper case letters, but continue to require correct formation. Then add uniform slant, again, while continuing to require children to maintain the correct form and size already accomplished. Follow this procedure as you add new letters, words, and sentences. When practicing single letters, require the same even spacing as you do between whole words. It helps young children to use a Popsicle stick or some other tool that can be placed on the paper for uniform spacing. (Using one or two fingers is often suggested.) Check slant by drawing a straight line through center of each letter-top to bottom (not left to right). All those lines should be parallel if slant is uniform. Printing may not require this check if letters are formed correctly. Cursive writing, however, often appears sloppy simply because all letters do not slant uniformly. The lines you draw through the letter should look like this

. / \ or slant a bit more to the right, but not be a mix: / l / / / /

Oversee practice so children don't fill a page with improper work simply to finish quickly. Praise letters and words written well and have the student erase and rewrite anything unacceptable. While this may seem time consuming, remember that it will actually take more time to undo bad habits.

Young children should use large writing or painting tools for better control. Don't be concerned about letter size at first, instead, emphasize form, letting them draw on blank paper with easy-to-hold "fat" markers, crayons, or paintbrushes which allow less pressure to be used in drawing a solid looking line. Be sure the children use the same grip required later for paper and pencil work. For those children that insist on using adult pens and pencils, add a finger grip (available at many educational supply and office supply stores).

Begin with lines and shapes, encouraging children to draw all vertical lines from the top to the bottom. All circular shapes should begin at the 2 o'clock position, moving up, left, and around-like the letter c. (Kids tend to start at the top and make egg shapes.) Shapes using straight lines-triangles, rectangles, and squares, should always use individual lines that meet, not a single stroke with an attempt to make "pointy" corners. Every line should be drawn left to right or top to bottom. Vertical lines are drawn first, left side, then right side, and then the connecting horizontal lines. The horizontal lines on top are first, and all horizontal lines should begin at the left. Kids have their own short cuts, so these basics do need to be taught.

Next, teach a few lower-case letters and short words. Many children want to learn to write their own name before anything else. That's fine as long as you are careful to show them the correct form for drawing each letter, only use a capital letter at the beginning, and then give him samples to trace.

Once letter formation is acceptable, children should practice on paper with wide guide lines in order to learn to control size as well as to develop uniformity in size. There should be solid lines at the top and bottom, a dotted line in the middle, and space before the next guide lines. This is typical primary handwriting paper, available at many local education or business supply stores. Whether printing or writing in cursive, begin with paper that has a dotted middle line rather than using traditional notebook paper. The center line serves as an important guide and aids in faster achievement of uniformity of size. Handwriting paper is available with lines in a variety of widths. Have the student write something on blank paper so that you can see the size he is most comfortable writing, then use that as your guide, rather than age, to select the most appropriate paper for practice. Write the letter or word on the paper a few times for the students to trace and then copy.

For best results, handwriting practice should be scheduled every day. It is better to take several days off after practicing consistently for a week or so, then to practice erratically. It is also more effective to have two short practices a day then one long practice if the child becomes quickly fatigued when writing. Fine motor skills develop more slowly, especially in boys, then gross motor skills. Often boys fuss about paper and pencil work simply because their hands get tired. Be sure to have students sitting in a proper writing position. The flat surface on which their arms can rest comfortably should not be too high or too low, and their feet should be supported on the floor or on a box, rather than dangling. Improper table height, a slouching or straining body position or dangling feet all sap strength, increasing fatigue.

Handwriting practice consists of copying, not creating, letters, words and sentences. Separate composition from handwriting by allowing children to dictate or type compositions, turn in work with handwriting that is less than perfect, or copy final drafts during regularly scheduled handwriting practice instead of the usual handwriting lesson. Remember that composition requires students to focus on content and organization, and, during the editing process, on spelling and punctuation skills. If handwriting perfection is also required, students who are fatigued by handwriting or who have difficulty with neatness are likely to look for ways to avoid composition assignments. At the very least they will compose extremely short works simply to avoid as much handwriting as possible.

It is also acceptable to allow students to answer workbook questions orally, avoiding handwriting to fill in blanks. During handwriting practice focus on adjusting size or any other difficulties that make attempts to fill in blanks sloppy, illegible, or tediously slow. Increase the total daily time spent on handwriting as an isolated lesson as necessary rather than pressuring the student with handwriting expectations he is not yet able to meet while he is working in other subjects. As maturity and motor skills allow, you may require readable written answers that fit the allotted space. Once you know that the student is capable of neat work done at a reasonable speed, all final written work (not rough drafts) can be required to meet the standard you have set.

Ultimately, students should be able to take phone messages, write letters, and complete applications with writing that is legible, neat, and fits into the space allotted. Teach older students who have great difficulty with cursive writing to sign their names with a mature looking cursive form, and then focus on printing letters that are neat and small enough for filling out forms. They can use their typing skills for everything else. The college bound student will also need to print or write in cursive neatly and with enough speed to complete essay tests. Speed is also required for taking notes, although in that case neatness is required only to the extent that they can read their own writing. Otherwise, they, too, can rely on typing skills for reports and compositions.

Handwriting does not have to be a battleground. By targeting specific and narrow objectives, praising efforts that are well-done as well as pointing out errors to be corrected, and scheduling regular, supervised practice, progress can be made much more rapidly than if children are left on their own to complete handwriting workbooks. Young children want to write well, but are often frustrated by their own lack of coordination and discouraged because it requires so much more effort to please either the teacher or themselves than they thought it would. Older students often rush to complete assignments and argue that neatness is irrelevant. In either case, the teacher must be patient, choose reasonable objectives, and stand firm. Legible handwriting is a worthy cause!

.Kathryn L. Stout, B.S.Ed., M.Ed
Published: November 1998

[گیسو]

Thank you
I' save this part for myself
thank u again my dear