Furthermore, good Teutonic Kitsch looks rather forlorn and out of place wearing a Bohemian háček over its shrunken hind quarters. But the high traditions of scholarship must be maintained, and on these pages Meester Kitsch will masquerade as Mr. Kič.³
The Polish “cz”, a combination of consonants unknown in Latin, like Czečh “c” (c with a háček) is pronounced like the soft English “ch” in “cheese”, a sound not used by the Romans but possible in the “English” pronunciation of Latin.
1967 July, The Bodleian Library Record VIII:i, page 3:
Its keyboard includes a fair selection of the diacritical marks needed for cataloguing: the acute, grave, and circumflex accents, the cedilla, diæresis, short-sign, tilde, haček, and superscript circle.
Unsystematic use of diacritics (the háček (ˇ), čárka (´), tečka (˙)) marks the Strahov copy (hereafter Tₛ) as no earlier than mid-15th century.
1984, Edward Stankiewicz, Grammars and Dictionaries of the Slavic Languages from the Middle Ages up to 1850 (Berlin: De Gruyter Mouton, ISBN3110097788, “West Slavic”: ‘Czech Grammars’, page 3⁽¹⁾ and ‘Czech Dictionaries’, page 16⁽²⁾
⁽¹⁾ Hus, Jan, De Orthographia Bohemica, MS, ca. 1410.
Pathbreaking treatise on Czech orthography that became in time a model (with various modifications) for all non-Orthodox Slavs. Hus replaced the medieval system of digraphs with one of diacritics, among which the dot (later replaced by a háček) marked the palatals ṅ, ṫ, ṙ, ċ, ż, ṡ and l̇ ( = ł) and an acute accent (čárka) the long vowels á, ó, ú, í, ié. Hus’ distinction of i / y and l / ł was being lost even in his own time.
⁽²⁾ [Anon.], Dictionarius trium linguarum latine, teutonice, bohemice potiora vocabula continens: peregrinantibus apprime utilis, Vienna, 1513.
A dictionary of ca. 1 500 nouns arranged by subject matter, and a list of numerals. Some entries betray Central Czech origin. The orthography is inconsistent (the háček is used only for ž), and vowel length is not indicated. An expanded edition including Italian and French equivalents appeared in 1531.
In Late Common Slavic the environment before [j] was, with few exceptions, a position of neutralization for tense diffuse vowels /i, y/ and lax diffuse vowels /ь, ъ/. The nongrave vowels /i, ь/ were realized as [ɪ]; grave vowels /y, ъ/ were realized as [y̌], the háček here denoting a degree of intensity lower than that for /i, y/ and higher than that for /ь, ъ/.
For Arabic words in Part II, I follow the transliteration system of Wehr and Cowan, Arabic–English Dictionary, 3rd ed., save that for certain letters with inconvenient diacritical markings (specifically, those with underbars: ḵ, ṯ, ḏ, and with háček: š) I usually prefer the alternative forms with h (that is, kh, th, dh, sh).
“It should be Čermák, with a háček above the C and a čárka above the a, long a. Shouldn’t it be?”
2002, Torbjörn Lundmark, Quirky QWERTY: the story of the keyboard @ your fingertips (UNSW Press), “~ to ^ — Diacritics: add-ons to the alphabet”, ‘Some Special Uses in Pinyin Chinese’, page 34
macron used to signify the first tone (wū — ‘house’) acute accent used to signify the second tone (wú — ‘none’) háček used to signify the third tone (wǔ — ‘five’) grave accent used to signify the fourth tone (wù — ‘fog’)
2002, Camille Sándorfy [ed.], Role of Ryberg States in Spectroscopy and Photochemistry, Part II: “High Rydberg Spectroscopy”, essay 11: James K.G. Watson, ‘Rotation-Electronic Coupling in Diatomic Rydberg States’, § 6.1: «Spherical Tensor Operators», page 309
Here a háček (ˇ) is used to distinguish operator indices from the quantum numbers of wavefunctions.
2004, Alan Timberlake, A Reference Grammar of Russian, § 1.3.7: “Transliteration”, page 24
The linguistic system uses diacritics in preference to diagraphs for unusual consonant letters, for example «ч» is transliterated as «č», using the Czech háček.
2005, Ari Rafaeli, Book Typography (Oak Knoll Press; ISBN1584561572, 9781584561576), pages 60⁽¹⁾ and 76⁽²⁾
⁽¹⁾ Robert Bringhurst is a fancier of accents, diacritics, foreign characters, tribal runes. On the paper cover of the second edition, between the title and the author, there’s a line of bright red a’s accented acutely, gravely, brevely, circumflexedly, and with háček, trema or umlaut, ring, tilde, ogonek attached aduncously, ogonek with acute overhead, and bang in the middle a bright red æsc. There’s also a lower-case eth, a thorn, a kreska ukośna and a cedilla.
⁽²⁾ We note that some writers say that the háček is not or should not be ‘an inverted circumflex’ (though it is called that by Robert Bringhurst) but that it is a unique mark with its own principles of shape, height, angle, etc., and the háček used in this text is therefore unsatisfactory.
Kryštof had two things going for him which automatically distinguished him as my superior in Estelle’s book; firstly, that he was male, and secondly, that his name had a háček in it. This made him her grandson, or something.
Hussites, who readily embraced Hus’s spelling reform, replaced the superscript dot with the circumflex turned upside down, still known in English by its Czech name ‘háček’ (literally, ‘small hook’), for instance, [č] for /ch/, [ě] for /palatalized e/, [ň] for /palatalized n/, [ř] for /rhoticized zh/, [š] for /sh/, and [ž] for /zh/. The superscript dot gave way to the superscript coma in [ď] and [ť] for /palatalized d/ and /palatalized t/ but the letters’ capital counterparts, [Ď] and [Ť] retained the háček.
RS follows standard East European practice of using the wedge (haček, čiriklo) to indicate the strident palatals (š, ž, č, ǆ).
2001, Felix K. Ameka, “Ideophones and the nature of the adjective word class in Ewe” in Typological Studies in Language XLIV: Ideophones, eds. Friedrich Karl Erhard Voeltz and Christa Kilian-Hatz, page 46, endnote 2