LEARNING 16 TENSES VIA SINGING A SONG

2 Niat yang akan melejitkanmu bersemangat menyelesaikan Skripsi

Dear All Netters.

Skripsi sering disebut Alit Susanto, penulis Jogja dengan sebutan SKRIPSHIT.mungkin karena dia saking jengkelnya ngga lulus2 kuliah waktu itu. Kalo saya pribadi Crispy eh Skripsi yang berasal dari Bahasa Belanda EEN SCRIPTIE (in English we call it "Graduating paper") bisa ditafsirkan sebagai SKRIPSI=A SCRIPT (THAT YOU SHOULD ALWAYS) SEE. jadi asal fokus dan banyak doa insyaAllah cepat kelaar.

Ok, kali ini saya bikinkan satu posting berisi sharing pengalaman pribadi saya saat masih S1 dulu yang saya rasa diperlukan sebagian mahasiswa- khususon ila  -lazy student alias yang malas mengerjakan Skripsi. Terkait dengan hal ini setidaknya ada 2 hal yang perlu diperhatikan yang semoga bisa menyemangatkan:

1. Jadiken SKRIPSI sarana berbagi kebaikan untuk ummat manusia. Jika anda orang beragama jadikan skripsi kamu sebagai sarana atau kendaraan untuk kesuksesanmu di masa mendatang. Disadari atau tidak masyarakat kita masih memperhitungkan sarjana sebagai orang pandai yang diharapkan bisa berbuat banyak untuk kebaikan dan kemajuan masyarakat. Entah material atau immaterial. 

Jika anda seorang Muslim kamu bisa menjadikan skripsimu sebagai ibarat kuda fi sabilillah yang akan menjadikanmu berguna untuk kemaslahatan ummat. Pernah ada seorang Sahabat Nabi Muhammad SAW yang sibuk mengurus kuda yang disiapkan untuk perjuangan agama. Maka Nabi Muhammad SAW mengajarkan bahwa susah payah seorang Sahabat dalam mengurus kuda fi sabilillah setiap keringat, kotoran kuda dan tiap kesusahan dalam persiapan itu akan ditimbang sebagai pahala kelak di akherat. Jadi mengurus kuda fisabililllah itu bukan persoalan remeh-temeh.

Demikian juga skripsi. Skripsi adalah kuda fisabilillah-mu maka setiap kesusahan dalam mempersiapkan dan membuatnya: lembur malam, ditolak atau dicorat-coret dosen dst semua akan menjadi pahala jika dijalani secara FOKUS, ISTIQOMAH dan SABAR. Apalagi skripsi sekarang tidak se-seram zaman dulu.

2. Ridlo Orang tua. Walo bagaimana pun. Ridlho orangtua itu penting dan menyelesaikan studi itu sebenarnya bukan urusan pribadi si mahasiswa tapi juga urusan keluarga. Coba bayangkan percakapan di bawah ini. Percakapan antara tetangga dengan orang tua kita: 

Tetangga: Bu Istianah, Nak Faizal kelihatannya rajin dan pandai kuliahnya ya? 

Ibunya Faizal: Oh, jelas. Memang dia anak yang berbakat. 

Tetangga: iya saya juga berfikir begitu tapi maaf sudah berapa tahun ya kuliahnya? Koq belum selesai-selesai?

 Ibunya Faizal: waadooooh.gimana ya? Dia rajin, pandai dan berbakat tapi ya cuman skripsi aja sih yang belum selesai…

 Nah, percakapan di atas jika dilanjutkan akan sulit dan akan membuat sedih ibunya sang mahasiswa.kenapa? karena biarpun rajin, pandai dan berbakat tapi skripsi tidak diselesaikan yang kadang-kadang di-DO karena sudah 7 tahun/14 semester kuliah jadinya bikin sedih orang tua. 

Untuk itu buat para mahasiswa yang sedang malas tolong dipertimbangkan 2 hal di atas dan tetap semangat. Letakkan target selesai skripsi 5 centimeters di depan dahi mu biar Allah SWT mudahkan dan lancarkan skripsimu. Amiiin.

THE STORY OF GREEDY MONKEY

THE STORY OF GREEDY MONKEY

Monkey is very popular of its greedy manner.  One day there was  a hunter in the forest to look for a monkey to be hunted and brought home.

The hunter said, "Today I should be able to go home with a monkey and I will sell it to the zoo and I will be a rich man".

The hunter prepared a trap for monkey. He prepared a lot of peanuts in a big bottle planted in the land. He put many delicious peanuts and chocolate inside the bottle. The big bottle has a small bottle neck so that if the monkey put his hand inside the bottle his hand will be trapped inside and the hunters easily catch the monkey.

After waiting for some time, finally came the greedy monkey. The monkey is so happy smelling the delicious peanuts and chocolates.

The monkey said "Hmmmmmmmmmm .. A lot of food here",

Then he put his hand inside the bottle to take the peanuts and chocolates. He did not understand that it is a trap. Then the monkey cried because he cannot pull his hand inside the bottle planted on the land.

"Ooohhhhhh. I was trapped. I was trapped" The monkey cried loudly.

Finally, the hunter came and he was smiling seeing the monkey, caught it and brought it home.

The Moral of the Story:

GREEDY is a bad character. GREEDY will bring you to unhappy life.  Don’t Be GREEDY, but Be GENEROUS. Thank you very much for your attention.

FREE ENGLISH LINGUISTICS EBOOK OR PDF DOWNLOAD

(1) free download Discourse Analysis by Gillian Brown & George Yule FREE DOWNLOAD (2)  buku george yule PRAGMATICS. ini buku paling simple buat mahasiswa dibandingkan yang lain seperti Jacob L mey, Levinson atau Paul Grice. silakan  download tanpa password FREE DOWNLOAD atau yang ini ya FREE DOWNLOAD2 (3) ESP E-BOOK English for specific purposes’ – hutchinson tom, waters alan FREE DOWNLOAD (4)  An Introduction to Sociolinguistics, 6th Edition. Ronald Wardhaugh FREE DOWNLOAD (5)  ARONOFF INTRODUCTION TO MORPHOLOGY DOWNLOAD GRATIS (6)  HASPELMATH UNDERSTANDING MORPHOLOGY FREE DOWNLOAD (7) R. HURFORD SEMANTICS COURSE BOOKS FREE DOWNLOAD (8) PAUL GRICE PRINCIPLE OF PRAGMATICS : principles_of_pragmatics__godfrey_leech_lancaster

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Matakuliah : Cross Cultural Understanding

Matakuliah : Cross Cultural Understanding
Kode :
Jurusan : Tarbiyah
Program Studi: Tadris Bahasa Inggris
Program : Strata 1 (S1)
Bobot : 2 SKS

Kompetensi Dasar
1. memahami budaya sebagai bagian penting dalam kehidupan bermasyarakat
2. memahami pentingnya toleransi dalam hubungan antar budaya
3. mampu menjalin komunikasi antar budaya dan tetap mempertahankan kearifan lokal.

Indikator Kompetensi
Mahasiswa diharapkan dapat:
1. Memahami Cross-Cultural Contact And The Benefits
2. Memahami CCU and Cultural Shock
3. Memahami Ethnocentric Judgment :Stereotypes
4. Memahami Verbal Communications: The Way People Speak
5. Memahami Non-Verbal Communication: Speaking Without Words
6. Memahami Concept Of Family: Types And Traditions
7. Memahami Relationships: Friends And Acquaintance
8. Memahami Concept Of Religion Across Cultures
9. Memahami Concept Of Education: Values And Expectations
10. Memahami Cross-Cultural Concept For Friendship
11. Memahami Concept Of Work: Practices And Attitudes
12. Memahami Cross-Cultural Conflict And Adjustment

Topik Inti
13. Cross-Cultural Contact And The Benefits
14. CCU and Cultural Shock
15. Ethnocentric Judgment :Stereotypes
16. Verbal Communications: The Way People Speak
17. Non-Verbal Communication: Speaking Without Words
18. Concept Of Family: Types And Traditions
19. Relationships: Friends And Acquaintance
20. Concept Of Religion Across Cultures
21. Concept Of Education: Values And Expectations
22. Cross-Cultural Concept For Friendship
23. Concept Of Work: Practices And Attitudes
24. Cross-Cultural Conflict And Adjustment

Referensi
Gillespie, Sheena and Adelman, Robert. 1991. Across Cultures – A reader for Writers. Massachusetts: Allyn and Bacon. Inc.
Levine, REena. R and Adelman, Mara B. 1982. New Jersey: Prentice Hall

BASIC ELEMENTS OF POETRY

← ALL MATERIALS OF LITERARY APPRECIATION LECTURE

CHAPTER V BASIC ELEMENTS OF POETRY

Posted on 07/08/2015by abu dira syifa

 

 

 

 

 

 

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Poetry (from the Greek “ποίησις”, poiesis, a “making” or “creating”) is a form of literary art in which language is used for its aesthetic and evocative qualities in addition to, or in lieu of, its ostensible meaning. Poetry may be written independently, as discrete poems, or may occur in conjunction with other arts, as in poetic drama, hymns or lyrics.

Poetry, and discussions of it, have a long history. Early attempts to define poetry, such as Aristotle’s Poetics, focused on the uses of speech in rhetoric, drama, song and comedy. Later attempts concentrated on features such as repetition and rhyme, and emphasised the aesthetics which distinguish poetry from prose. From the mid-20th century, poetry has sometimes been more loosely defined as a fundamental creative act using language.

Poetry often uses particular forms and conventions to expand the literal meaning of the words, or to evoke emotional or sensual responses. Devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to achieve musical or incantatory effects. Poetry’s use of ambiguity, symbolism, irony and other stylistic elements of poetic diction often leaves a poem open to multiple interpretations. Similarly, metaphor and simile create a resonance between otherwise disparate images—a layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between individual verses, in their patterns of rhyme or rhythm.

Some forms of poetry are specific to particular cultures and genres, responding to the characteristics of the language in which the poet writes. While readers accustomed to identifying poetry with Dante, Goethe, Mickiewicz and Rumi may think of it as being written in rhyming lines and regular meter, there are traditions, such as those of Du Fuand Beowulf, that use other approaches to achieve rhythm and euphony. In today’s globalized world, poets often borrow styles, techniques and forms from diverse cultures and languages.

There are several elements which make up a good poem. In brief, they are described below.

1. Figurative language
2. Imagery
3. Rhythm
4. Rhyme and alliteration
5. Tone

Some important elements of poetry are:

5.1 FIGURATIVE LANGUAGE

Figurative language is wording that makes explicit comparisons between unlike things using figures of speech such as metaphors and similes.

5.1.1 SIMILE

Simile: direct comparison between two unlike things usually delivered with the word “like,” “as,” or “so.”.   A simile so common as to be a cliché indicates great haste with the expression “like a bat out of hell”: When Marcia’s parents came home early, Bill went flying out the back door like a bat out of hell.

The words indicating simile are: like, as, so, appear, seem and  more than.

O my love,  is like a red, red rose,

That’s newly sprung in June.

O my love is like the melody

That’s sweetly played in tune.

(Robert Burns)

Emily Dickinson’s There is no frigate like a book

There is no frigate like a book

To take us lands away,

Nor any coursers like a page

Of prancing poetry:

Note: frigate=kapal perang gerak cepat, courses=kuda-kuda yang  lari cepat, rancing=berjingkrak-jingkrak.

5.1.2 METAPHOR

Metaphor: a figurative analogy or comparison between two things where the comparison is indicated directly, without the “like” or “as” customary in similes. Metaphors suggest literally that one thing is something else which it clearly is not in reality.

In the sentence, “He is like a tiger,” the expression “like a tiger” is a metaphorical expression meaning “having a bravery or courage like a tiger”  or in the sentence, “Mr. Johnson yelled out the back door, ‘Bill, I’m going to kick your butt from here clear into the next county!'” the expression “kick your butt” is a metaphor: Mr. Johnson means that he will cause physical harm to Bill, but not necessarily by applying his foot to Bill’s backside.

Robert Herrick’s A Meditation For His Mistress (kekasih) .

You are a tulip seen today

But, dearest, of so short a stay (tak berumur panjang)

That were you grow scarce man can say

You are a lovely July-Flower,

Yet one rude wind or ruffling shower (hujan gerimis yang mengganggu)

Will force you hence, and in an hour.

Endang Sartika, Buruh Pabrik Terima Beasiswa S-2 di India

Biayai Kuliah dengan Uang Lemburan

Endang Sartika, Buruh Pabrik Terima Beasiswa S-2 di India

25 Juli 2015 3:57 WIB Category: Berita Utama, SmCetak A+ / A-

SM/Muhammad Syukron
SAAT WISUDA: Endang Sartika bersama orang tuanya saat wisuda S-1 Program Studi Bahasa Inggris IAIN Salatiga.(30)

Dari kampung penghasil sayur, Seloprojo, Ngablak, Magelang, alumni IAIN Salatiga yang juga buruh pabrik tekstil Argo Manunggal Textile Salatiga ini menembus beasiswa S-2 jurusan Bahasa Inggris Mangalore University India dari The Indian Council for Cultural Relations (ICCR).

ENDANG Sartika, putri pasangan petani sayuran Sucipto dan Miyatun ini tak mengira, berbekal tekad yang kuat, ia bisa melanjutkan studi S-2 ke luar negeri. Apalagi pendidikan yang akan ditempuhnya ini didapat secara gratis karena menerima beasiswa.

Endang sapaan akrabnya, menyelesaikan program studi Bahasa Inggris di STAIN (sekarang IAIN) Salatiga dengan predikat cumlaude. Setelah selesai dari SMA, Endang tidak lantas beruntung untuk mencicipi bangku kuliah karena keterbatasan biaya dan permasalahan kultur di kampungnya. Di mana anakanak sebayanya hanya menyelesaikan bangku SMP. Bisa menyelesaikan sekolah sampai SMA sudah lebih dari cukup.

Endang pun akhirnya hijrah ke Kota Salatiga. Di kota yang sejuk ini bukannya untuk melanjutkan kuliah melainkan melamar kerja di sebuah pabrik. Sejak lulus dari SMAtahun 2009, Endang bekerja sebagai buruh pabrik tekstil Argo Manunggal Textile. Dari pabrik inilah semangat kerjanya sangat diapresiasi oleh atasannya karena ketekuanan dan kecekatannya.

Namun, kegundahan untuk melanjutkan kuliah semakin menjadi- jadi. Ia pun selalu menyisihkan sebagian dari gajinya di pabrik untuk kuliah. Dia berpikiran sebagai siswa berprestasi dari SD sampai SMAharus melanjutkan kuliah. Endang pun merelakan jam kerja di pabrik dengan lembur untuk bisa meraih cita-citanya.

Fenomena Aneh Bahasa Inggrisnya orang Jepang

1. Orang jepang mengatakan "Aidoru" untuk kata "idol", mengatakan "imposibru" untuk "impossible" Dan juga jika orang Indonesia mengubah "V" menjadi "F", orang Jepang mengubah "V" menjadi "B", jadi jangan heran kalau mendengar Chef Harada mengatakan "OVEN" jadi terdengar seperti "OBUN"


2.Katakana = huruf Jepang untuk menuliskan kata-kata serapan. Contoh: Ice Cream –> Aisu Kuriimu, Cheese –> Chiizu

3.  ABILITY  ----------ABIRITY

MOST IMPORTANT ELEMENTS OF PROSE FICTION

CHAPTER III

PROSE FICTION

Prose fiction is the telling of stories which are not real. More specifically, fiction is an imaginative form of narrative, one of the four basic rhetorical modes. Although the word fiction is derived from the Latin fingo, fingere, finxi, fictum, "to form, create", works of fiction need not be entirely imaginary and may include real people, places, and events. Fiction may be either written or oral. Although not all fiction is necessarily artistic, fiction is largely perceived as a form of art or entertainment. The ability to create fiction and other artistic works is considered to be a fundamental aspect of human culture, one of the defining characteristics of humanity.

Even among writing instructors and best-selling authors, there appears to be little consensus regarding the number and composition of the fundamental elements of fiction. For example:

* "Fiction has three main elements: plotting, character, and place or setting." (Morrell 2006, p. 151).

* "A charged image evokes all the other elements of your story—theme, character, conflict, setting, style, and so on." (Writer's Digest Handbook of Novel Writing 1992, p. 160)

* "For writers, the spices you add to make your plot your own include characters, setting, and dialogue." (Bell 2004, p. 16)

 * "Contained within the framework of a story are the major story elements: characters, action, and conflict." (Evanovich 2006, p. 83)

* " . . . I think point of view is one of the most fundamental elements of the fiction-writing craft . . ." (Selgin 2007, p. 41)

Here are some elements of fiction (character, plot, setting, theme, Point of view, style, diction, and symbol and allegory). While these elements are not all found in every work, they are critical to the understanding of each piece you read.

 3.1   CHARACTER

Characterization is often listed as one of the fundamental elements of fiction. A character is a participant in the story, and is usually a person, but may be any persona, identity, or entity whose existence originates from a fictional work or performance.

Characters may be of several types:

Point-of-view character: the character from whose perspective (theme) the audience experiences the story. This is the character that represents the point of view the audience will empathize, or at the very least, sympathize with. Therefore this is the “Main” Character.

Protagonist: the driver of the action of the story and therefore responsible for achieving the stories Objective Story Goal (the surface journey). In western storytelling tradition the Protagonist is usually the Main Character.

   Antagonist: the character that stands in opposition to the protagonist.

  Supporting character: A character that plays a part in the plot but is not major.

   Minor character: a character in a bit/cameo part.

•         Analyzing characterization is more difficult than describing plot; human nature is infinitely complex, variable and ambiguous.  It is much easier to describe what a person has done instead of who a person is. 

•         In commercial fiction, characters are often two-dimensional, and act as vehicles to carry out the plot.  The protagonist must be easily identified with and fundamentally decent, if he has vices they are of the more ‘innocent’ type, the kind the reader would not mind having.

TYPES OF CHARACTERS

* Flat Characters- Usually have one or two predominant traits.  The character can be summed up in just a few lines.

Round Characters- Complex and many faceted; have the qualities of real people. 

*Static Character-  A character that remains essentially the same throughout.

3.2   PLOT

Plot, or storyline, is often listed as one of the fundamental elements of fiction. It is the rendering and ordering of the events and actions of a story. On a micro level, plot consists of action and reaction, also referred to as stimulus and response. On a macro level, plot has a beginning, middle, and an ending. Plot is often depicted as an arc with a zig-zag line to represent the rise and fall of action. Plot also has a mid-level structure: scene and sequel. A scene is a unit of drama—where the action occurs. (Bickham 1993: 23-62).

Plot refers to the series of events that give a story its meaning and effect. In most stories, these events arise out of conflict experienced by the main character. The conflict may come from something external, like a dragon or an overbearing mother, or it may stem from an internal issue, such as jealousy, loss of identity, or overconfidence. As the character makes choices and tries to resolve the problem, the story’s action is shaped and plot is generated. In some stories, the author structures the entire plot chronologically, with the first event followed by the second, third, and so on, like beads on a string. However, many other stories are told with flashback techniques in which plot events from earlier times interrupt the story’s “current” events.

All stories are unique, and in one sense there are as many plots as there are stories. In one general view of plot, however—and one that describes many works of fiction—the story begins with rising action as the character experiences conflict through a series of plot complications that entangle him or her more deeply in the problem. This conflict reaches a climax, after which the conflict is resolved, and the falling action leads quickly to the story’s end. Things have generally changed at the end of a story, either in the character or the situation; drama subsides, and a new status quo is achieved. It is often instructive to apply this three-part structure even to stories that don’t seem to fit the pattern neatly.

THE STRUCTURE OF THE PLOT
NO	THE STRUCTURE OF THE PLOT
1	EXPOSITION/COMPLICATIONS:	Plot events that plunge the protagonist further into conflict.
2	CONFLICT:	*Conflict- A clash of actions, ideas, desires, or wills.Types of Conflict:  Person vs. Person, Person vs. Environment, Person vs. Self.
		·   Rising action: The part of a plot in which the drama intensifies, rising toward the climax ·   Climax: The plot’s most dramatic and revealing moment, usually the turning point of the story ·   Falling action: The part of the plot after the climax, when the drama subsides and the conflict is resolved.
3	THE ENDINGS/ RESOLUTION /DENOUMENT	*HAPPY ENDING-  Everything ends well for our protagonist.  More often used in commercial fiction. *UNHAPPY ENDING- Most instances in life do not have pleasant ends, so literary fiction that tries to emulate life is more apt to have an unhappy conclusion.  These endings force the reader to contemplate the complexities of life.  *INDETERMINATE ENDING- No definitive ending is reached.  This leaves the reader to ponder the many issues raised.

3.3   SETTING

Setting, the location and time of a story, is often listed as one of the fundamental elements of fiction. Sometimes setting is referred to as milieu, to include a context (such as society) beyond the immediate surroundings of the story. In some cases, setting becomes a character itself and can set the tone of a story. (Rozelle 2005: 2).

Setting, quite simply, is the story’s time and place. While setting includes simple attributes such as climate or wall décor, it can also include complex dimensions such as the historical moment the story occupies or its social context. Because particular places and times have their own personality or emotional essence (such as the stark feel of a desert or the grim, wary resolve in the United States after the September 11^th attacks), setting is also one of the primary ways that a fiction writer establishes mood. Typically, short stories occur in limited locations and time frames, such as the two rooms involved in Kate Chopin’s “The Story of an Hour,” whereas novels may involve many different settings in widely varying landscapes. Even in short stories, however, readers should become sensitive to subtle shifts in setting. For example, when the grieving Mrs. Mallard retires alone to her room, with “new spring life” visible out the window, this detail about the setting helps reveal a turn in the plot. Setting is often developed with narrative description, but it may also be shown with action, dialogue, or a character’s thoughts.

Social context: The significant cultural issues affecting a story’s setting or authorship

mood: The underlying feeling or atmosphere produced by a story

The setting of a story is its overall context- where, when and in what circumstances the action occurs.

•         Setting as Place- The physical environment where the story takes place. The description of the environment often points towards its importance.

•         Setting as Time- Includes time in all of its dimensions.  To determine the importance, ask, “What was going on at that time?”

•         Setting as Cultural Context- Setting also involves the social circumstances of the time and place.  Consider historical events and social and political issues of the time.

3.4 THEME

Theme is the meaning or concept we are left with after reading a piece of fiction. Theme is an answer to the question, “What did you learn from this?” In some cases a story’s theme is a prominent element and somewhat unmistakable. It would be difficult to read Kate Chopin’s “The Story of an Hour” without understanding that the institution of nineteenth-century marriage robbed Mrs. Mallard of her freedom and identity. In some pieces of fiction, however, the theme is more elusive. What thought do we come away with after reading Jamaica Kincaid’s “Girl”? Those mothers can try too hard? That oppression leads to oppression? That a parent’s repeated dire predictions have a way of becoming truth?

MORE INFO ABOUT THIS:

new book A handbook of English Literature

This is “AN HANDBOOK OF ENGLISH LITERATURE” which is compiled to make easy students for understanding and appreciating basic knowledge of English literature. This book is designed in an easiest, systematic and effective form to achieve adequate appreciation of literary theories and works.
For more info send sms to : Pak Fay: 0856-4201-9501
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ini adalah buku yang disusun untuk mempermudah bagi mahasiswa sastra dan bahasa Inggris untuk memahami dan “appreciate”  pengetahuan dasar tentang sastra Inggris dan Amerika. Buku ini dirancang dalam bentuk yang paling mudah, sistematis dan efektif untuk mencapai apresiasi yang memadai dari teori sastra dan terutama untuk pemula dalam mempelajari  karya sastra barat. Saya berharap buku ini akan bermanfaat sebagai Pengenalan Sastra Inggris dan Amerika: Prosa, Drama dan Puisi.

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