Etymological dictionary of the German language, 1891, by Kluge:
https://archive.org/stream/etymologicaldict00kluguoft#page/n5/mode/2up
One question I have about this...is the ornate typeface going to be problematic? In other words, does it correspond to the kind of typeface common in German language resources today? Also, could it possibly be updated? I ask because if I'm going to use this, it will be difficult enough without me having to decipher what all those curlicues pretending to be letters are supposed to be.
Good point. It's only the definition words, not the text, that is in the Gothic script, but even that is problematic. They would have to change the font.
is the ornate typeface going to be problematic?
What? you don't read fraktur? The fonts are standard. However, Logos normally updates the fonts but not the spellings so the topic is a non-issue.
Etymological dictionary of the German language, 1891, by Kluge: https://archive.org/stream/etymologicaldict00kluguoft#page/n5/mode/2up
I'd bid on this title.
Etymological dictionary of the German language
Why not, but I would consider English, Greek, Hebrew, and perhaps also Latin, etymological dictionaries to be more important than a German one.
(Btw, I'll ask for this thread to be moved to Suggestions, where it belongs.)
is the ornate typeface going to be problematic? What? you don't read fraktur? The fonts are standard. However, Logos normally updates the fonts but not the spellings so the topic is a non-issue.
A number of years ago I purchased a copy of Bousset's commentary on Revelation, 2nd ed which was published in fraktur. I began copying it into Logos notes, but unfortunately when I changed computers I was no longer able to find to font I had used and it was not Unicode so I have something of a mess on my hands unless I can find that font. Fraktur seems to have been used largely during the period of Nazification in Germany since the 1st edition (which differs substantially from the 2nd ed) uses the standard Latin alphabet. There are a number of characters which do not "play nice" with standard Latin characters such as ligatures.
Fraktur seems to have been used largely during the period of Nazification in Germany
It was used in Sweden for hundreds of years, and I would imagine the same is true for Germany, since we learnt it from them.
The real fun comes when you try to read old church records that were kept in the handwritten version of it.[:D]
Very brief history of the fraktur fonts
The first Fraktur typeface was designed when Holy Roman Emperor Maximilian I (c. 1493–1519) established a series of books and had a new typeface created specifically for this purpose, designed by Hieronymus Andreae. Fraktur quickly overtook the earlier Schwabacher and Textualis typefaces in popularity, and a wide variety of Fraktur fonts were carved. It became common in the German-speaking world and areas under German influence (Scandinavia, the Baltic states, Central Europe). Over the succeeding centuries, most Central Europeans switched to Antiqua, but German-speakers remained a notable holdout.
Typesetting in Fraktur was still very common in the early 20th century in all German-speaking countries and areas, as well as in Norway, Estonia, and Latvia, and was still used to a very small extent in Sweden, Finland and Denmark, while other countries typeset in Antiqua in the early 20th century. Some books at that time used related blackletter fonts such as Schwabacher; however, the predominant typeface was the Normalfraktur, which came in slight variations.
From the late 18th century to the late 19th century, Fraktur was progressively replaced by Antiqua as a symbol of the classicist age and emerging cosmopolitanism in most of the countries in Europe that had previously used Fraktur. This move was hotly debated in Germany, where it was known as the Antiqua–Fraktur dispute. The shift affected mostly scientific writing in Germany, whereas most belletristic literature and newspapers continued to be printed in broken fonts. This radically changed on January 3, 1941, when Martin Bormann issued a circular to all public offices which declared Fraktur (and its corollary, the Sütterlin-based handwriting) to be Judenlettern (Jewish letters) and prohibited their further use. German historian Albert Kapr has speculated that the régime had realized that Fraktur would inhibit communication in the territories occupied during World War II. Fraktur saw a brief resurgence after the War, but quickly disappeared in a Germany keen on modernising its appearance.
Fraktur is today used mostly for decorative typesetting: for example, a number of traditional German newspapers such as the Frankfurter Allgemeine, as well as the Norwegian Aftenposten, still print their name in Fraktur on the masthead (as indeed do some newspapers in other European countries) and it is also popular for pub signs and the like. In this modern decorative use, the traditional rules about the use of long s and short s and of ligatures are often disregarded.
