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Sayakhan, Najat Ismael, and Darcy H. Bradley. "A Nursery Rhymes as a Vehicle for Teaching English as a Foreign Language." Journal of University of Raparin 6, no. 1 (June 28, 2019): 44–55. http://dx.doi.org/10.26750/vol(6).no(1).paper4.
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In this paper, the authors present a rationale and offer suggestions for how nursery rhymes could be used in the EFL classroom as well as how teachers and/or teachers in training might use nursery rhymes to enhance engagement in learning English. First, the authors define nursery rhymes, give a brief history of the origins, discuss the characteristics, make a case for using nursery rhymes with EFL learners, and last, offer practical suggestions for how nursery rhymes might be used in English as a Foreign (EFL) instruction. A list of accessible nursery rhyme resources is shared at the end. There are many categories in folklore, but the ones children often like the most and adults may remember well are nursery rhymes, fairy tales, fables, myths, legends, and folksongs. Each of these genres contributes in some way to the language development of children. Nursery rhymes in particular form one of the foundations of children’s as well as adults’ literary heritage. The simple rhythm and rhyme of the language, the often predictable structure of the narratives, and the appealing characters combine to produce memorable language models for young children (Cullinan & Galda, 1998; Temple, Martinez, & Yakota, 2011). Children delight in the opportunities to chant the catchy phrases, mimic the nonsense words, and recite the lines endlessly. This pleasure in nursery rhymes translates into developing many reading, writing and oral language skills such as naturally segmenting sounds in spoken words and playing with real and nonsense words. Additionally, young children appreciate the stories and verses for their rhythm, repetition, and rhyme. Their attention is focused on the fanciful language and imaginative nonsense. They learn basic story patterns, encounter vivid plots, develop a sense of theme, and meet intriguing characters that in turn become the stepping stones for subsequent literary education (Cullinan & Galda, 1998; Bodden, 2010).
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Nirmala, Afsun Aulia. "ASONANSI DALAM CERPEN “UGD” KARYA DJENAR MAESA AYU." Sasando : Jurnal Bahasa, Sastra Indonesia, dan Pengajarannya Lembaga Penelitian dan Pengabdian Masyarakat Universitas Pancasakti Tegal 1, no. 2 (November 30, 2018): 112–18. http://dx.doi.org/10.24905/sasando.v1i2.32.
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The research that discusses about assonance can be related to literature including short stories. The "UGD" short story by Djenar Maesa Ayu is a work that contains some of the beauty of the language in it. Djenar is able to concoct language into a beautiful sentence. Thus this research is expected to be able to analyze the style of asonance in the "ER" short story. Asonansi is a vowel sound repetition to make internal rhymes in phrases or sentences, and together with alliteration and consonance function as one of the rhyme building blocks. Asonans do not have to rhyme; identity that depends only on the vowel and consonant sounds. Thus, asonance is the resemblance of units which are generally less than syllables. The method of this research is descriptive qualitative with the method of note and note. The results of this study were to describe the asonance in the ER short story by Djenar Maesa Ayu.
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Tanasijević, Ivana. "U TRAGANjU ZA IZGUBLjENIM SMISLOM: „RAZBRAJALICA, OKTOPOD-PRIČA“ LASLA BLAŠKOVIĆA." Lipar XXI, no. 73 (2020): 133–43. http://dx.doi.org/10.46793/lipar73.133t.
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The paper aims to explore the genre specifics of the novel Counting-out Rhyme, Octopus-Story written by Laslo Blašković, as well as the semantic layers that were activated in this manner. By accepting the traditional genre of the novel, which was transformed in the direction of a counting-out rhyme and octopus-story, the novel is constructed as a formally unique, subjective literary expression. Building its narrative flow upon the destinies of different personalities, who built seemingly independent stories, the novel Counting-out Rhyme develops the idea of a single story. With each new destiny, the story gets its variant, so the figure of the octopus will become a metaphor of literature in the most general sense. The story, having lost its meaning due to countless repetitions, like a counting-out rhyme, will become a structure of sound and scream, while the need for narration will become a principle of self-preservation.
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Holcomb, Leala, and Kimberly Wolbers. "Effects of ASL Rhyme and Rhythm on Deaf Children’s Engagement Behavior and Accuracy in Recitation: Evidence from a Single Case Design." Children 7, no. 12 (November 26, 2020): 256. http://dx.doi.org/10.3390/children7120256.
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Early language acquisition is critical for lifelong success in language, literacy, and academic studies. There is much to explore about the specific techniques used to foster deaf children’s language development. The use of rhyme and rhythm in American Sign Language (ASL) remains understudied. This single-subject study compared the effects of rhyming and non-rhyming ASL stories on the engagement behavior and accuracy in recitation of five deaf children between three and six years old in an ASL/English bilingual early childhood classroom. With the application of alternating treatment design with initial baseline, it is the first experimental research of its kind on ASL rhyme and rhythm. Baseline data revealed the lack of rhyme awareness in children and informed the decision to provide intervention as a condition to examine the effects of explicit handshape rhyme awareness instruction on increasing engagement behavior and accuracy in recitation. There were four phases in this study: baseline, handshape rhyme awareness intervention, alternating treatments, and preference. Visual analysis and total mean and mean difference procedures were employed to analyze results. The findings indicate that recitation skills in young deaf children can be supported through interventions utilizing ASL rhyme and rhythm supplemented with ASL phonological awareness activities. A potential case of sign language impairment was identified in a native signer, creating a new line of inquiry in using ASL rhyme, rhythm, and phonological awareness to detect atypical language patterns.
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Balombin, Clare. "Foi que doi." Reinardus / Yearbook of the International Reynard Society 26 (December 31, 2014): 1–13. http://dx.doi.org/10.1075/rein.26.01bal.
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One aspect of the late 12th and early 13th century Old French tales of the fox, Renart, that has been overlooked* is that the animals and humans who populate the stories invoke or mention a wide variety of saints – 64 in all.† Renart himself names 36 different saints when making 75 invocations. The choice of saint’s name to be invoked in the Roman de Renart appears to have been based on more than rhyme. Rhyme could invite multiple possibilities, given the number of saints with identical names listed in the martyrologies that circulated at that time.‡ Comparing the renardian situation with a saint’s vita or passio reveals a rich deposit of narrative, geographic, and symbolic information that the numerous, mostly anonymous, authors often manipulated to humorous, ironic, or subversive effect.
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Negrete, Aquiles. "Remembering rhythm and rhyme: memorability of narratives for science communication." Geoscience Communication 4, no. 1 (January 18, 2021): 1–9. http://dx.doi.org/10.5194/gc-4-1-2021.
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Abstract. Once upon a time, narratives were considered to be a non-reliable way of representing and communicating science. Nowadays, narratives are widely accepted as an accurate way of conveying science; they represent an effective emotional trigger, a lasting memory structure and a powerful aid for learning. To study how memorable different ways of presenting information can be is a fundamental task for science communication in order to evaluate materials that not only need to be understood by the general public but also need to be retained in the long term as a part of the communication process. In this paper, I will give a brief introduction to cognitive psychology and the study of memory in relation to narratives. Evidence from the field of memory studies suggests that narratives represent a good recall device. They can generate emotion, and this in turn is a way of focusing attention, promoting rehearsal in memory and inducing long-term potentiation. Similarly, a story produces semantic links that might assist in storing and retrieving information from memory. Studies suggest that memory span and paired-associate recall have implications in storing and recalling narratives. Evidence also suggests that the use of stories as modelling tools can organise information, provide schemas and allow extrapolation or prediction. Finally, literature in memory suggests that narratives have value as mnemonic devices.
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Turaeni, Ni Nyoman Tanjung. "BENTUK DAN PILIHAN KATA DALAM CERITA NGUNTUL TANAH NULÉNGÉK LANGIT KARYA I MADE SUARSA: KAJIAN STILISTIKA [Shape And Word Options In The Story Nguntul Land Nuléngék Langit Karya I Made Suarsa: Stilistic Study]." TOTOBUANG 5, no. 2 (January 28, 2018): 285. http://dx.doi.org/10.26499/ttbng.v5i2.39.
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This paper aimed to describe the use of language styles expressed in a collection of short stories titled Ngulul Tanah Yuléngék Langit by I Made Suarsa. The use of language styles was a special feature of the story through the form of intercultural communication or tools of communication as a series of events to form a story as a whole. The stylistic study that used in this study by descriptive method of analysis was describing the use of language style and diction in rhyme which was used by the author. The results of the analysis showed that the metaphorical language styles in rhyme were more dominant in the tension between tradition and creation the diction continued the convention of tradition as a local wisdom and creativity provided innovations of creating through inter-communications.Tulisan ini bertujuan untuk mendeskripsikan penggunaan gaya bahasa yang diekspresikan dalam kumpulan cerita pendek berjudul Nguntul Tanah Yuléngék Langit karya I Made Suarsa. Penggunaan gaya bahasa menjadi ciri khusus dalam cerita tersebut melalui bentuk komunikasi antartokoh atau sarana komunikasi sebagai rangkaian peristiwa untuk membentuk sebuah cerita secara utuh. Kajian stilistika yang digunakan dalam kajian ini dengan metode deksriptif analisis yaitu dengan memaparkan penggunaan gaya bahasa dan pilihan kata dalam permainan bunyi yang dimanfaatkan oleh pengarang. Hasil analisis menunjukkan bahwa pemanfaatan gaya bahasa dalam permainan bunyi menunjukkan lebih dominan gaya bahasa metafora dalam ketegangan antara tradisi dan kreasi. Dari pilihan kata meneruskan konvensi tradisi sebagai sebuah kearifan lokal dan dalam berkreasi menyajikan inovasi-inovasi dalam berkreasi melalui komunikasi antartokoh.
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Karyanto, Puji. "Potret Ketimpangan Sosial dalam Teks-Teks Sastra Indonesia Mutakhir." ATAVISME 13, no. 1 (June 30, 2010): 45–58. http://dx.doi.org/10.24257/atavisme.v13i1.143.45-58.
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Tulisan ini membicarakan bagaimanakah fenomena ketimpangan sosial digambarkan dalam teks-teks sastra Indonesia mutakhir dan relasi antara potret ketimpangan sosial tersebut dengan realitas. Untuk menjawab dua persoalan tersebut digunakan pendekatan sosiologi sastra dan semiotika. Hasil penelitian menunjukkan bahwa di antara ketiga teks sastra yang diteliti, yakni “Sajak Burung-Burung Kondor”, teks drama Konglomerat Burisrawa, dan novel Larung sebagai representasi teks-teks sastra Indonesia mutakhir terdapat benang merah tematik, yakni fenomena ketimpangan sosial. Fenomena ketimpangan sosial dalam “Sajak Burung-Burung Kondor” disampaikan secara langsung dengan mengoposisikan perbedaan nasib yang dialami oleh dua kelas sosial. Fenomena ketimpangan sosial dalam Konglomerat Burisrawa disampaikan dalam bentuk komedi satir yang tidak bersifat langsung. Fenomena ketimpangan sosial dalam Larung disampaikan untuk memperkuat ilustrasi cerita utama yang berfokus pada kisah-kisah romantik dan epik tokoh-tokohnya dalam memperjuangkan prinsip-prinsip hidup. Makna atas penggambaran fenomena ketimpangan sosial dalam ketiga teks sastra tersebut adalah sebagai refleksi literer atas fakta sosial yang ada.
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This paper will discuss two main issues of how the phenomenon of social inequality depicted in the Indonesian literary texts to date and the relationship between the portrait of social inequality with current realities. To answer there two questions, the sociology of literature and semiotics are used. Results show that among the three literary texts studied, namely the “Burung-Burung Kondor Rhyme”, dramatic text of Konglomerat Burisrawa, and novel Larung as a representation of Indonesian literary texts there are advanced thematic thread about the phenomenon of social inequality. The phenomenon of social inequality in the “Rhyme of Burung-Burung Kondor” is communicated directly by contrasting it with the fate differences experienced by these two social classes. The phenomenon of social inequality in the Konglomerat Burisawa is delivered in the form of indirect satirical comedy. The phenomenon of social inequality in Larung is made to strengthen the illustrations of feature stories that focus on romantic stories and the characters in the epic fight for the principles of life. The meaning of the depiction of social inequality in all three phenomena of literary text above is a literal reflection of existing social facts.
Key Words: testimony, social inequality, sociology of literature
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Lekmanov, Oleg A. "Notes of a Commentator: Bulgakov, Esenin, Oleinikov." Literary Fact, no. 19 (2021): 354–61. http://dx.doi.org/10.22455/2541-8297-2021-19-354-361.
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The paper offers a selective critical commentary on the three texts of the 1920s: Mikhail Bulgakov’s short story Red Crown, Sergey Esenin’s poem Black Man, Nikolay Oleinikov’s distich Children’s Verses. According to the author of the article, apocalyptic subtext of Bulgakov’s short story defined the room number of the narrator – 27: it corresponds to the number of the Book of Revelation in the New Testament. The source of Esenin’s rhyme “nakoverkala / zerkalo” (deformed / mirror) can be found not in L.A. Mey’s verses (as commentators used to note), but in the biographical stories about Mey, where it is ascribed to the poet N.F. Shcherbina. The author of the article thinks that Oleinikov wrote his verse about the little hare in Kornei Chukovskii’s family almanac re- ferring to the recently published N.K. Chukovskii’s book Animal Cooperative. It explains the choice of the topic and the domestic confinedness of the verse.
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Edwards, Carolyn Pope, Keely Cline, Lella Gandini, Alga Giacomelli, Donatella Giovannini, and Annalia Galardini. "Books, Stories, and the Imagination at “The Nursery Rhyme”: A Qualitative Case Study of a Preschool Learning Environment in Pistoia, Italy." Journal of Research in Childhood Education 28, no. 1 (December 20, 2013): 18–42. http://dx.doi.org/10.1080/02568543.2013.850131.
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Arnaudo, Marco. "Against Chapter XXXVI: Sequels and Remakes of Collodi's Pinoccohio in Italian Literature." Forum Italicum: A Journal of Italian Studies 41, no. 2 (September 2007): 382–402. http://dx.doi.org/10.1177/001458580704100205.
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This article discusses the last chapter of Collodi's Pinocchio in its relationship with the rest of the novel, and analyzes how several other authors responded to the very content of that chapter. Many 20th-century authors have in fact noticed a deep discrepancy between the adventures contained in the body of the novel and the brusque, somehow extrinsic and unprepared happy ending. They have consequently created alternative versions of Pinocchio that end before Collodi's original ending, or that depart from the penultimate chapter of the novel to move in new directions. In other cases, authors have created sequels of Collodi's story where Pinocchio, now a boy, attempts to return to being a puppet. The examples discussed include short stories by Arpino and Malerba, plays by Salvini and Benni, a rhyme version by Trinci, a comic book by Bilotta and Mammucari, and a mock official dossier by Placido. The analysis emphasizes the strategies these authors have used to give open endings to their works in response to their dissatisfaction with the solution proposed in the original novel.
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Rivera, Carmen Haydée. "Breaking the Rules: Innovation and Narrative Strategies in Sandra Cisneros' The House on Mango Street and Ana Castillo's The Mixquiahuala Letters." Ethnic Studies Review 26, no. 1 (January 1, 2003): 108–20. http://dx.doi.org/10.1525/esr.2003.26.1.108.
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Conventional approaches to literary genres conspicuously imply definition and classification. From the very beginning of our incursions into the literary world we learn to identify and differentiate a poem from a play, a short story from a novel. As readers we classify each written work into one of these neatly defined literary genres by following basic guidelines. Either we classify according to the structure of the work (stanza; stage direction/dialogue; narrative) or the length (short story; novelette; novel). What happens though when a reader encounters a work of considerable length made up of individual short pieces or vignettes that include rhythm and rhyme and is framed by an underlying, unifying story line linking the vignettes together? Is it a novel or a collection of short stories? Why does it sound and, at times, look like a poem? To further complicate classifications, what happens when a reader comes across an epistolary format with instructions on which letters to read first: letters made up of one-word lines, poetic stanzas, or italicized stream of consciousness; letters that narrate the history of two women's friendship? Is this a novel or a mere collection of letters?
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Kolarič, Jožef. "Billy Woods’s Literary Intertexts." Text Matters, no. 10 (November 24, 2020): 182–93. http://dx.doi.org/10.18778/2083-2931.10.11.
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While—like all artistic forms—it allows for deviation from this standard rule, rap is heavily reliant on building blocks of sixteen bars and a refrain. In addition, rhyme plays a prominent role in structuring rap, which is why the form is also colloquially referred to as “rhyming.” In view of this, Billy Woods’s record Today, I Wrote Nothing was a considerable departure from the existing rap norm. On the record, Woods stylistically adapted a collection of works by Russian absurdist writer Daniil Kharms, which was also called Today, I Wrote Nothing. Kharms was known for writing short prose without any formal structure. Most of his stories deal with absurd situations and slapstick humour. The structure of the fragmented fiction is adapted into rap on Woods’s record. The long rap verses are replaced by short songs without any specific narrative. The record maintains the non-structure of Kharms’s writing, as well as its absurdity, but it abandons any semblance of traditional rap. The second important stylistic and structural choice made in Woods’s record was the integration of aspects of Flannery O’Connor’s writing, particularly its humour and darkness. The article will focus on how Billy Woods integrates intertextuality into his lyrics to give the songs additional layers of meaning.
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Ilankumaran, M., and P. Deepa. "Teaching Literature Enhances Communication Skills – a Study with Special Emphasis on Poetry." International Journal of Engineering & Technology 7, no. 3.6 (July 4, 2018): 187. http://dx.doi.org/10.14419/ijet.v7i3.6.14967.
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The term communication is one of the most analyzed terms in the academic arena and it has been studied systematically since ancient times. Communication is an everyday social activity that is an essential and inherent component of every human being. It is a key to human development because the quality of the existence is linked directly to the quality of the communication. This article focuses on how literature in general and poetry in particular enhances the communication skills of the students. Every literary person knows about language and literature. However, they are most common to learn the vocabulary. Literature plays a key role in language classroom. It provides not only pleasure to readers but also builds experience and creates thinking ability. Moreover, literature has several literary forms such as prose, poetry, drama, novel, short stories, etc. Though there are several forms in literature, the most interesting genre is poetry. Poetry can be the works of great beauty due to its meter and rhyme scheme like the ebb and flow of an ocean. This really helps the student to show more involvement towards poetry. On the other hand, the students can try to know more vocabulary from the lines of the poems. Through different terms of poetry used in the classroom, the students get more benefits of knowing new terms and words.
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Mich, Włodzimierz. "Słowo jako medium tradycji: szkic z teorii oralności." Politeja 17, no. 4(67) (October 15, 2020): 148–66. http://dx.doi.org/10.12797/politeja.17.2020.67.08.
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Word as Medium of Tradition. Essay on Theory of OralityThe goal of the paper is to outline the concept of word as medium of intergenerational transfer of tradition in cultures of primary orality as formulated in the theory of orality since the 1960s. According to the classic anthropological approach, it emphasizes the orientation on tradition and stability of oral cultures. It also focuses on mechanisms of preserving fidelity and persistence of cultural patterns in the utterances/messages despite the lack of the written form. The basic mechanism here is to grasp messages in the form of epic poetry. Information (technical instruction and moral norms) is depicted in the narrative context, that is, descriptions of heroes’ activities as only by that the listeners’ emotions and – consequently – actions were stimulated. Combining poetry with music, singing, gestures and dancing were also used as mnemotechnical tools – messages affected listeners by rhyme, rhythm, and melody. On the verbal level, shaping messages according to mnemotechnical mechanisms have led to the origins of preservative language (elevated speech) that differed from flexible language used for everyday communication. Its main constitutive trait was dominance of formulas (formulative style) aimed at preserving those messages from critical analysis and being reshaped by the recipients. On the structural level of stories, formulas’ equivalent were typescenes and story-patterns. They were used to secure high fidelity of several performances (repetitions) of particular pieces. Other inherent traits of oral messages are: paratactic composition, redundancy, and Homeric epithets for descriptions of heroes.
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Garrad, Barbara. "Using rhymes and stories." Practical Pre-School 2001, no. 29 (September 2001): 26. http://dx.doi.org/10.12968/prps.2001.1.29.40832.
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Masduki, Aam. "NILAI-NILAI YANG TERKANDUNG DALAM PUISI SISINDIRAN BAHASA SUNDA DI KABUPATEN BANDUNG." Patanjala : Jurnal Penelitian Sejarah dan Budaya 3, no. 1 (March 1, 2011): 69. http://dx.doi.org/10.30959/patanjala.v3i1.272.
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Abstrak Sindiran adalah salah satu bentuk puisi Sunda lama yang terdiri atas sampiran dan isi. Namun demikian kepuisiannya terbatas pada rima dan irama, bukan pada diksi dan imajinasi seperti halnya puisi modern (sajak). Bahasanya mudah dipahami seperti bahasa sehari-hari. Dalam sastra Indonesia bisa disebut pantun. Sisindiran “pantun” merupakan puisi rakyat yang sangat digemari masyarakat. Sisindiran dapat mengungkapkan atau mencerminkan perasaan, keadaan lingkungan, dan situasi masyarakat desa, petani, dan lain sebagainya. Biasanya dituturkan dalam suasana santai, berkelakar, berbincang-bincang, dan suasana formal, misalnya dalam upacara adat perkawinan, melamar, dan sebagainya. Dalam perkembangannya, sangat luwes, mudah memasuki berbagai gendre sastra lainnya, seperti cerita pantun, wawacan, novel, cerpen, novelet bahkan kadang-kadang muncul juga pada puisi modern. Dilihat dari pembentukannya, kata sisindiran berasal dari bentuk dasar sindir ‘sindir’. Dengan demikian sisindiran merupakan bentuk kata jadian yang diperoleh dengan cara dwipurwa (pengulangan awal) disertai akhiran-an. Penelitian ini menggunakan metode deskriptif analisis yaitu seluruh data yang diperoleh dari lapangan dikumpulkan, kemudian dianalisis dengan cara dikaji dan diklasifikasikan menurut struktur, isi, dan fungsi yang dikandungnya. Adapun tujuan dari penelitian ini adalah (1) Adanya sisndiran dalam bentuk tertulis merupakan dokumentasi pengawetan karya sastra agar tidak mengalami kepunahan, (2) Menunjang kemudahan untuk menyusun sejarah sastra, serta pengembangan teori sastra, khususnya sastra lisan Sunda,.(3) Hasil pendokumentasian ini akan sangat bermanfaat untuk perbendaharaan bahasa, sastra, dan budaya daerah. Hasil akhir dari penelitian ini ungkapan-ungkapan dalam sisindiran diharapkan menjadi bahan bacaan yang dapat menuntun generasi berikut ke jalan kebaikan melalui ungkapan yang disampaikan secara langsung atau tidak langsung (menyindir). AbstractSisindiran is a type of old Sundanese poem. It consists of sampiran and content. Sampiran is the first two rows that have nothing to do with the content but functions as rhyme to the sentence of the content. Unlike modern poems, sisindiran is practically limited to rhyme and rhythm, excluding diction and imagination. The language used in sisindiran is everyday and easy-to-understand one. Indonesian literature call it pantun. As a pantun, sisindiran is very popular amongst Sundanese people as it reflects feelings, village environment (the peasants and the village itself). Sisindiran is usually used either in formal and informal settings because it is very flexible, in terms of it is easily fitted to other genres such as carita pantun, wawacan, novels, short stories, even modern poems. Etymologically, sisindiran derives from the word sindir that has been duplicated and suffixed. This research has conducted a descriptive-analytical method. Data were collected then analysed by studying and classifying the structure, content and function they contain. The purpose of the research are: 1) to preserve literature arts by providing their written documents, 2) to make it easier to arrange literature history and developing theory of literature, especially for Sundanese oral literature, and 3) to enrich the treasures of regional languages, literatures, and cultures. Hopefully, the expressions used in sisindirann can be a guidance for young generations in order to make them take the good path in their future lives, either directly or indirectly (through allusions).
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Ishak, Aisyah, and Rosni Samah. "[The Aesthetics of A Sufist Poet, Ahmad Kamal Abdullah, Known as “Kemala”,] Jamaliah Syair al-Ghazal as-Sufi inda as-Syair Malazia." Jurnal Islam dan Masyarakat Kontemporari 17, no. 1 (May 31, 2018): 113–51. http://dx.doi.org/10.37231/jimk.2018.17.1.267.
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This article discussed about the aesthetics of a Sufist poet, Ahmad Kamal Abdullah, known as “Kemala”, who is the most famous Modern Malaysian poet. There are a lot of his spiritual and mystical poems collected in several collections or “diwan”. Therefore, this study aims to decipher his mystical poems focused on both of its forms and contents; which studied the form of selected poems consisting of five points: musical, language, intertextuality, symbols and image. On the other hand, it also studied the contents in order to know the ideas that were raised, his emotions, and also its meanings and significance. Finally, the article displayed the results; firstly in terms of its form, the selected poems presented by the poet use several rhymes in one poem, which showed that they are contemporary poems not bonded by a single rhyme, which are the normal form for classical poems. Besides that, the article found that the poet used elements of repetition and question style frequently in his poetry and it is basically related to his emotions and the strength of his feelings. In addition, the poet used the vocabularies and phrases that indicate the meanings of love, besides revealing the element of intertextuality which were affected by Quranic verses, stories of the prophets, the historical incidents, the philosophy of love by Imam al-Ghazali, and also the classical Malay poetry. After that, the study showed that the poet used two types of imageries in his mystical poems; metaphoric and real images, selected by Kemala in order to reveal his feelings of love. Secondly: in term of its contents, it is heavily focused on three important topics; the poetry of love for Allah SWT, the poetry of love for Prophet Muhammad SAW, and the Sufisme love poetry. Last but not least, we can find from this analytical study that Kemala is a Sufist poet revealing his feelings and ideas intellectually and creatively, as well as a Ghazal poet due to selected texts that qualified the Ghazal Poem which is well known in Middle East.
Keywords: Mystical Ghazal- Aesthetics- Love- Kemala
تتناول هذه المقالة عن جماليات شعر الغزل الصوفي عند أحمد كمال عبدالله (Ahmad Kamal Abdullah) المعروف بـ "كمالا" (Kemala)، وهو من أشهر الشعراء الماليزيين في العصر الحديث. واشتهر بقصائده الروحية والصوفية التي جمعت في دواوين عدة بعناوين خاصة. ويعبر في قصائده عما في قلبه من القضايا أو الظواهر من الحوادث والقصص التي حدثت حوله محليا أو عالميا. ولذلك، تهدف هذه المقالة إلى دراسة النصوص الصوفية له شكلا ومضمونا، فمن حيث الشكل تدرس المستوى الموسيقي، والمستوى اللغوي، والتناص، والرمز، والصورة. وأما دراسة مضامين النصوص فهي تركز على تجلية جماليتها، ومعرفة أفكار الشاعر المطروحة فيها، وعواطفه، وأيضا دلالة تلك الأفكار. وتوصلت المقالة إلى عدة نتائج؛ وأهمها؛ أن النصوص من ظواهرها الشكلية تكونت من القوافي غير الموحدة المعروفة في شعر الحر، مع إيجاد ظاهرة التكرار فيها مؤديا إلى معانيها الخاصة مرتبطة بالواقع النفسي عند الشاعر، وكثرة استخدام أساليبب الاستفهام، واستخدام المفردات والعبارات التي تدل على الحب والشوق والعشق، ومع وجود ظاهرة التناص من قصص الأنبياء والحوادث التاريخية وفلسفة الحب والشوق عند الإمام الغزالي، وبجانب الاستفادة من معاني الآية القرأنية والتراث الشعري القديم. كما استخدم الشاعر صورا تشبيهية وفنية في نقل أفكاره إلى المتلقي بطريقة فعالة تثير القلب واستخدام رموز متعددة. وأن نصوص الغزل الصوفي عند كمالا قد تحدثت عن ثلاثة موضوعات وهي شعر الحب الإلهي، والحب النبوي، والسكر الصوفي. والخلاصة، يعد كمالا شاعرا صوفيا مبدعا مثقفا، وكذلك شاعر الغزل الذي يقدم حبه الخالص للمحبوب والعشق به بكل قدسية، وبطريقة فعالة بالأساليب الجذابة.
الكلمات المفتاحية: الغزل الصوفي – جماليات – الحب – العشق – كمالا
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Einat-Nov, Idit. "Uncertainty as a Poetic Principle: A Reading of the Opening Scene in Joseph Ben Zabara’s The Book of Delight." European Journal of Jewish Studies 15, no. 1 (October 5, 2020): 153–68. http://dx.doi.org/10.1163/1872471x-bja10018.
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Abstract This article proposes a new reading of the opening scene of Joseph Ben Meir Ibn Zabara’s twelfth century (at the latest: 1209) The Book of Delight. This reading derives from the hypothesis that this art of storytelling is based on a poetic principle of uncertainty, and is therefore associated with the various forms of the ambiguous and the ambivalent (the grotesque, the uncanny, the ironic, etc.). As I have argued elsewhere about other rhymed Hebrew stories, this approach is appropriate, in my view, to the character of some of the most fascinating rhymed stories produced in medieval Hebrew literature. In the present study I suggest yet another demonstration of the poetic benefit that can accrue from the adoption of this approach.
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Davies, Sarah. "Sharing traditions." Early Years Educator 21, no. 10 (February 2, 2020): S8—S9. http://dx.doi.org/10.12968/eyed.2020.21.10.s8.
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Sarah Davies urges settings to celebrate ‘International Mother Language Day’ on 21 February. Its a great excuse to bring children, families and the wider community together to share their cultures, songs, stories and rhymes.
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Jackson, Marilyn Malloy, and Melissa Allen Heath. "Preserving Guam's culture with culturally responsive children's stories." School Psychology International 38, no. 5 (September 25, 2017): 458–72. http://dx.doi.org/10.1177/0143034317719944.
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Regardless of where schools are located, teachers face the challenge of teaching and mentoring children, not only in academic achievement but in social emotional development. When faced with challenges, young children are especially vulnerable because they lack the life experience and developmental maturity to adequately cope. Relying on the lead author's personal experiences in leading Guam's university teacher preparation program and in developing an early childhood education literacy program, this article demonstrates how teachers adapted popular Mother Goose nursery rhymes, tales, and local indigenous stories, making stories relevant to the local culture in Guam. Stories, specifically aligned with local cultures and traditions, are recommended as an intervention strategy to strengthen children's emerging literacy skills and to strengthen children's self-identity and resilience. In particular, offering opportunities for students to see oneself and one's culture in children's literature builds cultural esteem and a sense of community.
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Li, Li. "Translating children’s stories from Chinese to English." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 4 (November 20, 2017): 506–22. http://dx.doi.org/10.1075/babel.63.4.03li.
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Translation, according to the German functional approach to Translation Studies, is a purpose-driven interaction that involves many players. Translating children’s stories is no exception. Using her personal experience of translating Mr. Wolf’s Hotline, a book comprising 47 Chinese children’s stories by Wang Yizhen, a contemporary Chinese writer , in light of the Skopos and text-type theories of functional approach in particular, the author has outlined the strategies and methods adopted in her translations in terms of language, structure and culture. With child readers in mind during the translation process, the translator has used rhetorical devices, onomatopoeic words, modal particles, and also changed some of the sentence structures of the stories, such as from indirect sentences into direct quotations, and from declarative sentences into questions. In terms of culture, three aspects, namely, the culture-loaded images, the names of the characters and nursery rhymes are singled out for detailed analyses. Though marginalized, ‘children’s literature is more complex than it seems, even more complex’ (Hunt 2010: 1), and translation of children’s literature is definitely challenging. This paper outlines the strategies and methods the author has adopted in translating some children's stories from Chinese to English.
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Crow, Andrea. "The Parson’s Country House Poem." Christianity & Literature 68, no. 3 (February 4, 2019): 388–407. http://dx.doi.org/10.1177/0148333119827676.
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This article demonstrates how early modern English poet-priest Robert Herrick uses verse form to examine tensions arising from food scarcity. I uncover Herrick’s creation of the “parsonage poem,” a subcategory of the country house poem through which he examines the impossible demands parsons faced in times of dearth. Living on agricultural tithes yet expected to redistribute food to feed their parishes, parsons struggled to measure resources and restrict consumption to make insufficient stores stretch further. Through careful manipulations of meter, rhyme, syntax, and syllable, Herrick articulates the unsustainability of the parson’s position and explores its relationship to declining rural communities.
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Al-Rifai, Nada Yousuf. "Ahmad Shawqi and Educational Poetic Stories on the Tongues of the Animals." English Language and Literature Studies 5, no. 4 (November 30, 2015): 108. http://dx.doi.org/10.5539/ells.v5n4p108.
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<p>Ahmad Shawqi, the most famous Egyptian poet, used the animal world to narrate children stories. He began using this genre as a student in France to express his moral, national, and social desires and to awaken his fellow countrymen’s outrage against colonialism and its machinations. He narrated fifty-six tales, the first of which, entitled “Al-Deek Al-Hindi wa Al-Dajaj Al-Baladi” (The Indian Rooster and the Local Chicken), was published in the newspaper Al-Ahram in 1892. Shawqi’s tales were often written in the form of odes, following the rajaz rhythm, and using variable rhymes. They are easy to read, short, often educational, and can be easily memorized. Shawqi used the Holy Quran, books of proverbs, and Arabic wise sayings as his primary influences. Indeed, Shawqi’s tales are definitely Islamic in nature and tone.</p>
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Olechno-Wasiluk, Joanna. "Оblicza kultury w słownikach lingwokulturologicznych na przykładzie Kościeja Nieśmiertelnego (Кащея «Кощея» Бессмерт¬ного)." Kultury Wschodniosłowiańskie - Oblicza i Dialog, no. 6 (September 22, 2018): 163–72. http://dx.doi.org/10.14746/kw.2016.6.13.
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The article compares descriptions of a linguistic unit Kashei the Immortal in entries in two linguocultural dictionaries. The choice of the analytical material is based on the fact that in the Russian collective consciousness Kashei the Immortal functions as one of the most vivid examples of negative characters. The repelling appearance and personality of the character appear in songs, nursery rhymes and puzzles. Moreover, there stories about Kashei are passed from generation to generation. The comparison of the entry Kashei the Immortal in linguocultural dictionaries aims at determining to what extent common knowledge about the analyzed linguistic unit is present in lexicographical publications.
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Stevenson, Deborah. "What'll I Do with the Baby-O?: Nursery Rhymes, Songs, and Stories for Babies (review)." Bulletin of the Center for Children's Books 61, no. 4 (2007): 195. http://dx.doi.org/10.1353/bcc.2007.0827.
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Heffernan, Thomas J. "The Authorship of the ‘Northern Homily Cycle’: The Liturgical Affiliation of the Sunday Gospel Pericopes as a Test." Traditio 41 (1985): 289–309. http://dx.doi.org/10.1017/s0362152900006929.
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In the north of England, as the thirteenth century was drawing to a close, an enterprising and pastorally zealous cleric was engaged in the composition of the most extensive preaching codex in the English language since Aelfric's Catholic Homilies. The text now known as the Northern Homily Cycle (hereafter NHC) was left untitled by an anonymous author who wrote in his native dialect and was well versed in the lore of the north country. He used a rhymed octosyllabic line throughout. His plan encompassed a free rendering of the Gospel pericope for the particular Sunday (the homilies are chiefly dominical), a complementary exegesis drawn from the Fathers, and an exemplum, reflecting a shrewd sense of his audience and the fashion of the time. In these exempla he revealed a catholic taste by selecting stories of saints and monks, stories from antiquity and the east, pieces of local Northumbrian folklore, legends of the Virgin, accounts of miraculous beasts, risqu6 fables, and child-like pious tales.
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Trentinné Benkő, Éva, Valéria Árva, Núria Medina-Casanovas, and Mireia Canals-Botines. "English Language Children’s Literature as a Springboard for Teacher-Researcher International Collaboration." Gyermeknevelés 9, no. 1 (April 19, 2021): 39–56. http://dx.doi.org/10.31074/gyntf.2021.1.39.56.
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This article discusses various forms of collaboration in terms of research, teaching and innovation conducted in the field of children’s literature by four lecturers from the University of Vic-Central University of Catalonia (Uvic-UCC), Catalonia (Spain) and Faculty of Primary and Preschool Education, Eötvös Loránd University (ELTE TÓK), Budapest (Hungary). The research project that focused on the use of stories, songs and rhymes in the early English language education provided at a number of primary and preschools in Catalonia and Hungary forms the centrepiece of this joint study. The present article is an account of the follow-up research that completed the project.
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Henderson, Jennifer. "Residential School Gothic and Red Power: Genre Friction in Rhymes for Young Ghouls." American Indian Culture and Research Journal 42, no. 4 (October 1, 2018): 43–66. http://dx.doi.org/10.17953/aicrj.42.4.henderson.
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Rhymes for Young Ghouls is a hyper-stylized film, extremely conscious of the way narrative conventions are organized into genres. In telling a story about a Mi'kmaw girl's leadership of a revenge plot, the film juxtaposes the genres—and the very different models of time-space—of the Gothic novel and the Red Power-era exploitation film. I read this jolting combination as a critical intervention into what I call Residential School Gothic, a dominant discourse on the historical wrong of Indian residential schooling which has emerged in Canada over the past two decades. The film's immanent critique of this public narrative template for telling stories about residential school exposes some of the crucial ways in which Residential School Gothic serves to reconfirm a settler common sense about liberal progress.
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Fatmawati, Dewi, Tengku Silvana Sinar, Rohani Ganie, and Muhammad Yusuf. "THEMATIC PROGRESSION PATTERNS OF SHORT STORY THE BLACK CAT." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 3, no. 1 (July 5, 2019): 64–73. http://dx.doi.org/10.30743/ll.v3i1.1082.
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This study attempts to investigate thematic progression deployed in The Black Cat short story. The objectives of study are 1) To indicate the types of Thematic Progression in “The Black Cat” short story and 2) to describe the realization of Thematic Progression in “The Black Cat” short story. This study was conducted in descriptive qualitative design. The data were taken from the text of “The Black Cat” short story. The source of the data in this study was The Black Cat and Other Stories book written by Edgar Allan Poe. Systemic Functional Linguistics theory proposed by Halliday (1994) was used to analyzed thematic progression in “The Black Cat” short story regarded with Textual Function. In analyzing the thematic progression, there are three kinds of thematic progression: theme reiteration, the zig-zag pattern and the multiple- rheme pattern. The findings showed that the multiple- rheme pattern is the most dominant realized in 32 times (74%), theme reiteration is the second realized in 7 times (16,3%), and the zig-zag pattern is realized in 4 times (9,3%) and the least dominant pattern in “The Black Cat” short story.
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Stevenson, Deborah. "Bananas in My Ears: A Collection of Nonsense Stories, Poems, Riddles, and Rhymes (review)." Bulletin of the Center for Children's Books 66, no. 4 (2012): 215. http://dx.doi.org/10.1353/bcc.2012.0998.
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Manzoni, Filipe. "Catástrofes, utopias e outras histórias / Catastrophes, Utopias and Other Stories." Cadernos Benjaminianos 15, no. 2 (March 13, 2020): 91. http://dx.doi.org/10.17851/2179-8478.15.2.91-112.
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Resumo: Este trabalho se propõe a investigar algumas figuras-chave para a releitura de uma relação entre a poesia e o pensamento da história tomada como catástrofe. O centro a partir do qual os seus quatro tópicos centrais se articulam é uma aproximação entre o pensamento de Walter Benjamin (em especial em suas teses sobre o conceito de história) e a proposição de um princípio utópico pela obra de Ernst Bloch. Essa aproximação se desdobrará em um pequeno panorama de imagens-síntese: a linhagem de heróis usados como lição do caráter catastrófico da historia, diferentes releituras do Angelus novus de Paul Klee, algumas apropriações da figura de Prometeu e a teoria de Giorgio Agamben do poema rimado como miniatura do tempo messiânico. Em cada um esses cenários serão buscadas diferentes maneiras de subversão de um histórico enquanto fechamento de um sentido, de forma que a catástrofe se enquadre dentro de uma instância ainda não resolvida do possível.Palavras-chave: Poesia contemporânea; Ernst Bloch; história; catástrofe. Abstract: This research aims to investigate some central images for a reconsideration of the relation between the poetry and a concept of history that is focused on its catastrophic aspect. This scrutiny will be organized in four topics that articulate both Walter Benjamin and Ernst Bloch propositions on the concept of history, as well as they relations to notions of catastrophe (mainly in Benjamin) and utopia (via Bloch). This topic will be structured in the form of a small panorama of images, namely, a genealogy of heroic figures taken as a role model for the catastrophe, some re-readings of the Angelus novus of Paul Klee (other than Benjamin’s famous examination on his theses on the concept of history), a few philosophic appropriations of Prometheus, and finally, the theory of Giorgio Agamben of rhymed poetry as a miniature of the messianic time. In each one of these scenarios the main goal is to search for an alternative to a concept of history as a teleologic closure of a meaning, in a way that the catastrophe becomes only one possible aspect in a not yet concluded time.Keywords: Contemporary poetry; Ernst Bloch; history; catastrophe.
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Sofge, Robin. "Book Review: More Storytime Magic." Reference & User Services Quarterly 56, no. 1 (September 23, 2016): 53. http://dx.doi.org/10.5860/rusq.56n1.53a.
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This book offers a bounty of fresh materials for both storytime novices and veterans, including songs, flannel boards, rhymes, stories, and recommended book lists to engage the audience. Updating their 2009 Storytime Magic, authors MacMillan and Kirker use the same format for this volume, but with new materials. As with the earlier title, chapters have themes, such as “All About Me,” “Fairy Tales and Castles,” and “The Natural World.” The new materials in these chapters are useful when planning storytimes. Some activities and flannel boards are tied to specific books. For example, Toni Yuly’s Early Bird (2009, 19) is the focus of a flannel board, and an ALA web link is provided for flannel board patterns, which makes it easy to use. Song lyrics listed in the book can be sung to familiar tunes, including childhood favorites. As in the previous book, some American Sign Language is also included.
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Budzyńska, Paula. "How authentic is language included in English and German language textbooks for primary education in Poland? A case study." Glottodidactica. An International Journal of Applied Linguistics 45, no. 1 (September 10, 2018): 27–40. http://dx.doi.org/10.14746/gl.2018.45.1.02.
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This study aims at investigating the authenticity of vocabulary and grammar structures included in two selected English language textbooks (hereafter ELTs) and two German language textbooks (hereafter GLTs) for the first stage of education in Poland. In order to achieve the assumed objective, the author examined literary materials, that is, songs, rhymes, or short stories, included in selected ELTs and GLTs in accordance with the principles of the corpus stylistics method developed, for example, by Semino & Short (2004), Mahlberg (2014), or McIntyre (2015). With the support of BYU-BNC and DWDS corpora, the performed analysis indicated, for instance, that in the case of both types of textbooks studied, the number of authentic words that children are to learn seems to be rather insufficient. The outcomes of the study enable suggesting certain modifications targeted at the increase of the authenticity of language that the analysed textbooks include.
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Halperin, Laura. "Not No Rapunzel." Meridians 19, no. 2 (October 1, 2020): 323–47. http://dx.doi.org/10.1215/15366936-8308420.
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Abstract In this article, Laura Halperin reads Chicana writer Sandra Cisneros’s The House on Mango Street as a disidentificatory, revisionist, and intersectional collection of fairy tales. Halperin builds on critical scholarship about The House on Mango Street and fairy tales and inflects a U.S. Third World feminist analysis by examining how the narrative draws attention to the ways gender, sexuality, race, ethnicity, and class are entwined. Rather than view the text as an outright rejection of the dubious premises and promises provided by fairy tales—individualist, (hetero)sexist, classist, and racist ones—she argues that the book references such tales at length to highlight their widespread power while also challenging their problematic ideologies. The simultaneous engagement with and contestation of these stories are what makes Cisneros’s text revisionist and disidentificatory, and Cisneros’s attention to the particular concerns faced by impoverished females of color makes the text intersectional. The two tales with which Cisneros most explicitly engages are “Cinderella” and “Rapunzel,” and the two central images in her collection are shoes and windows. The House on Mango Street also references other stories and rhymes, including “Little Red Riding Hood,” “Peter Pan,” “The Old Woman Who Lived in a Shoe,” Alice in Wonderland, Through the Looking Glass, and The Little House, just as it invokes Mexican (American) folklore and Greek and Roman mythology. Cisneros’s mimetic repetition of these narratives underscores their pervasiveness and allure while critiquing the myths they advance.
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Ogunyemi, F. Taiwo, and Elizabeth Henning. "From traditional learning to modern education: Understanding the value of play in Africa’s childhood development." South African Journal of Education 40, Supplement 2 (December 31, 2020): S1—S11. http://dx.doi.org/10.15700/saje.v40ns2a1768.
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Rhymes, poetry, stories, wrestling, music and dancing were essential cultural elements through which childhood play was promoted in traditional Africa. “Modernisation” brought about by colonialism led to distortion and decline in the use of traditional play for childhood education in many parts of Africa. This work assessed the value of play in Africa’s childhood education, using documentary analysis and a survey of views from South African and Nigerian childhood educators. The documentary analysis involved a review of existing research to give an overview of traditional play in Africa, while survey data generated from 62 respondents in South Africa (SA) and Nigeria (Nig) were used to illustrate the findings of the review. Traditional African play, when properly deployed, could enhance children’s physical, mental, social and emotional development. This study identified 5 major obstacles to the integration of traditional and modern forms of children’s play. It therefore calls for concerted efforts by policymakers, educators and parents to address the challenges associated with the identified obstacles within a trado-modern paradigm.
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GASKILL, MALCOLM. "WITCHCRAFT, POLITICS, AND MEMORY IN SEVENTEENTH-CENTURY ENGLAND." Historical Journal 50, no. 2 (May 9, 2007): 289–308. http://dx.doi.org/10.1017/s0018246x07006073.
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This article weaves together two episodes separated by a generation. The inciting event is the trial in 1653 of Anne Bodenham, an elderly cunning woman in Salisbury, who found herself embroiled in a feud in a gentry household, set against the turbulent backdrop of a divided city. Her arrest and examination evoked painful memories of an earlier scandal, the fateful association of the duke of Buckingham with Dr John Lambe, a sorcerer whom Bodenham claimed to have served in the 1620s. These tales, in turn, echoed an even older awareness of the perils of the diabolic, most prominently the pact of Dr Faustus. Together these narrative strands demonstrate how feelings of public disgust at Stuart corruption were revived in the commonwealth era and used as a polemical device by puritan activists. Both stories are rich in gossip, rumour, rhymes, libels, anonymous notes, and the practical uses of printed works, not to mention spells and curses, visions and dreams. As such, this article also shows just how complex a witch-trial could be, and serves as a reminder of the sophistication, ingenuity, and ebullience of seventeenth-century communications and consciousness across the social order.
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Syathroh, Isry Laila, Bachrudin Musthafa, and Pupung Purnawarman. "Providing teaching resources for young learner classes: Best practices in efl context." ELT in Focus 2, no. 2 (July 17, 2020): 51–62. http://dx.doi.org/10.35706/eltinfc.v2i2.3054.
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The availability of teaching resources is one of important factors to create successful lessons in teaching English to young learners (TEYL). Teachers can use flashcards, toys, songs, rhymes, books, audio visual materials, digital recourses and others to support teaching and learning process. Ready-made materials are available in stores, however they are usually expensive. The aim of this article is to share one of the best practices in providing resources for young learners in learning English. In the academic year of 2018, 40 students of English Department of IKIP Siliwangi took English for Young Learners (EYL) course for two credit hours. This is the second subject which is related to teaching young learners after they learned TEYL subjects as the perquisite subject in the previous year. In this course, students re-learned the concept of TEYL and the concepts how to provide teaching materials and resources for TEYL classes. At the end of the course, they should show their projects and demonstrate how to use them in TEYL. The findings reveal that students’ are very creative in designing resources for TEYL classes. This ability is very crucial in order to create child-friendly pedagogy in EYL classrooms.
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Dollerup, Cay. "Translation for Reading Aloud." Meta 48, no. 1-2 (September 24, 2003): 81–103. http://dx.doi.org/10.7202/006959ar.
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Abstract The article takes a look at the translation of children’s literature intended for reading aloud. The pragmatic (or theoretical) point of departure is a ‘narrative contract’ between the child (audience) and the reader as in the oral tradition of yesteryear. It is therefore argued that, at least initially, children’s literature for reading aloud was a continuation of the narrative tradition in the extended family adapted to the conditions and mores of the nuclear family. The nuclear family was a 19th century innovation promoted by the new middle classes, and they best carried on the narrative tradition by means of stories such as those of the brothers Grimm in Germany and Hans Christian Andersen in Denmark. Referring to an informal questionnaire among Translation Studies scholars covering eleven countries, it is concluded that the tradition of reading aloud for children is alive and well. This leads to a model for the translational situation for read-aloud literature that calls for guiding principles in the exploration of differences between ‘originals’ and ‘translations.’ Having introduced such layers, viz. the structural, the linguistic, the content and intentional ones, a paratextual and chronological layer are also called for, because of the ubiquity of modern co-prints and the need to introduce diachronic perspectives. The article discusses decision-makers in the process of translation, such as publishers and the like, and also briefly views questions of translational traditions before it discusses translations of the Grimm Tales into English and Danish, to conclude that there are two different schools of ‘respectable translators,’ one targeting stories for reading aloud and another for silent reading, even though the translators may not be aware of this. The final part takes up questions concerning the translation of names, rhymes, and a highly complex text which is discussed in depth. The conclusion is that translation for reading aloud is an art requiring great competence of translators. It also ought to attract more attention from Translation Studies scholars because it questions fundamentals in translation work that are also found in other types of translation. Readers should read aloud the passages cited in order to appreciate the commentary!
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Bağcı Ayrancı, Bilge, and Gıyasettin Aytaş. "Preschool teacher candidates’ views on functionality of child literature in education Okul öncesi öğretmen adaylarının çocuk edebiyatının eğitimde işlevselliği üzerine görüşleri." Journal of Human Sciences 14, no. 4 (December 16, 2017): 4226. http://dx.doi.org/10.14687/jhs.v14i4.5093.
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Child literature pieces are significant in terms of solidifying educational attainments in children. Abstract concepts such as cultural background and values need to be solidified in children’s minds that are in the concrete operational stage. Including crucial attainments such as cultural and universal values, child literature pieces are unique educational materials. Child literature pieces include fairy tales, rhymes, drama and poems etc., and are the first materials that anyone encounters during early childhood.Child literature pieces are quite helpful to provide preschoolers with educational attainments who do not like being told what to do, but can assess the events and characters in fairy tales. Enjoying the repetitions in rhymes, preschoolers can gain linguistic enthusiasm and awareness during this period. The benefits of child literature during preschool age can be increased, thus it is an important field of interest that must be considered by preschool teacher candidates.This qualitative research made use of semi-structured interview forms to collect data. The study findings showed that the first child literature pieces that came to preschool teacher candidates’ minds were fairy tales, stories and rhymes. These participants stated that child literature was mostly effective in improving preschoolers’ creativity. This response was followed by finding child literature effective in improving cognitive and linguistic abilities. The participant preschool teacher candidates’ responses as the most important characteristics of child literature pieces were mostly including them to be appropriate for level, simple, interesting and creative. They can be said to approve child literature in terms of improving cognitive, social and creativity skills. The most emphasized issues concerning the use of child literature pieces during preschool were the appropriateness to children’s level, cognitive skills, social skills, being interesting and not covering violence and fear themes.Extended English abstract is in the end of Full Text PDF (TURKISH) file. ÖzetÇocuk edebiyatı ürünleri çocuğa verilmek istenen kazanımları somutlaştırması bakımından önemlidir. Kültürel birikim, değerler gibi soyut kavramların somut işlemler dönemindeki çocuğa sunulması bu kavramların somutlaştırılmasını gerektirmektedir. İçerisinde kültürel ve evrensel değerler gibi önemli kazanımları barındıran çocuk edebiyatı ürünleri bu bakımdan eğitim materyali olarak eşsizdir. Çocuk edebiyatı ürünleri içerisinde masallardan, tekerlemelerden, dramadan, şiirlerden vb. bahsetmek mümkündür. Çocuk edebiyatı ürünleri insanın da ilk çocukluk evresinden itibaren ilk karşılaştığı ürünler arasındadır.Çocuk edebiyatı ürünleri, okul öncesi dönemde kendisine ne yapılacağının söylenmesinden hoşlanmayan ancak masallardaki vb. karakterleri, olayları değerlendiren hedef kitleye kazanım sağlanması bakımından da son derece faydalıdır. Tekerlemelerdeki tekrarlardan hoşlanan okul öncesi dönem çocuğu dil sevgisi, bilincini de bu sayede erken yaşlarda edinebilir. Okul öncesi dönemdeki faydaları bu şekilde arttırılabilecek çocuk edebiyatının okul öncesi dönem öğretmen adayları tarafından farkında olunması gereken bir alan olduğu unutulmamalıdır.Araştırma modeli olarak nitel araştırma yaklaşımı kapsamında yarı yapılandırılmış görüşme formu ile veri toplama tekniği seçilmiştir.Araştırmanın sonucunda okul öncesi öğretmenlerinin çocuk edebiyatı ürünü olarak zihnine ilk masal, hikaye ve tekerlemelerin geldiği görülmektedir. Okul öncesi öğretmen adayları çocuk edebiyatını en çok çocukların yaratıcılık düzeylerini geliştirmede etkili bulmuşlardır. Bu cevabı bilişsel gelişim ve dil gelişimi için yararlı bulduklarını gösteren cevaplar takip etmektedir. Okul öncesi öğretmen adaylarının çocuk edebiyatı ürünlerinde bulunması gereken en önemli özellik olarak çoğunlukla, seviyeye uygunluk, sadelik, ilgi çekicilik ve yaratıcılık cevaplarını verdikleri görülür. Okul öncesi öğretmen adaylarının beceri kazanımı bakımından bilişsel beceriler, sosyal beceriler ve yaratıcılık becerileri için çocuk edebiyatını daha uygun buldukları söylenebilir. Okul öncesi öğretmen adaylarının okul öncesi eğitimde çocuk edebiyatı ürünlerinin kullanımına dair en çok vurgu yaptıkları konuların seviyeye uygunluk, bilişsel beceriler, sosyal beceriler, şiddet ve korku ögelerinden uzaklık ile ilgi çekicilik olduğu görülür.
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Hussain, Talib, Sikandar Javed Bajwa, Salvan Ghani, Beenish Alam, Malik Arshman Khan, and Adil Durrani. "Dental Anxiety Measurement of Children in Abbottabad Using Audio Visual System." Pakistan Journal of Medical and Health Sciences 15, no. 7 (July 26, 2021): 1633–36. http://dx.doi.org/10.53350/pjmhs211571633.
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Aim: To measure the anxiety and fear in children while visiting dentist and to observe effectiveness of audiovisual assistance to overcome anxiety Study design: Qualitative study Place and duration of study the study is done in Rehmat Memorial Hospital Abbottabad department of operative dentistry, affiliated with Women Medical and Dental College Abbottabad, from December 2014 to February 2017. Methods: Total two hundred children were observed aged between 5-8 years at Rehmat Memorial Hospital Abbottabad under controlled conditions showing cartoons on TV screen by using wireless headphones. There were two main groups divided into the controlled group and uncontrolled group containing one hundred participants in each group. Each patient's pulse rate, heart rate was recorded and live pulse rate was in sight by using wristband with pulse rate detector. Venham's picture test was used to check the correct reaction of the patient for the assessment of degree of anxiety more realistically. Results Controlled group n=100 and uncontrolled group n=100 patient aged 5-8 years treated for various procedures in different appointments. With mean age 6-7 years, Male to female ration of participants in controlled group was 34% and 66% and in uncontrolled group male and female ration was 45% and 55%. Significant reduction in anxiety was noted in controlled group distracted by audio visual stories and rhymes. Conclusion: Both groups were statistically evaluated and the result showed that audiovisual distraction can decrease the anxiety level in the controlled group but couldn't eliminate completely. This issue needs more studies and experiments to resolve anxiety in children completely. Keywords: Dental anxiety, Venham’s picture test, child behaviour
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Syafniati, Syafniati. "PANDANGAN MASYARAKAT TERHADAP WANITA SEBAGAI PENDENDANG DALAM ACARA BAGURAU LAPIAK DI PAYAKUMBUH." Humanus 13, no. 2 (December 29, 2014): 146. http://dx.doi.org/10.24036/jh.v13i2.4724.
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Bagurau Lapiak is one of the types of saluang dendang (sing along with saluang—a type of recorder—play) performance conducted in the corridors of Payakumbuh stores, using lapiak (mat) for seat. Bagurau Lapiak is organized by a group ‘pagurauan’ (jokers) held on evenings starting at 21.00 until dawn. The singer (‘pendendang’) in the show is a woman who will fulfill the request of the audience to sing and play certain tunes by giving some amount of money to a committee called janang. Previously all singers in Minangkabau are men; women singers are considered to violate traitional and religious norms and it is not appropriate for women to sing along with the men in public let alone at night. However, in the case of saluang pendendang, women sungers play an important role in attracting the ‘joke addict’ in saluang bagurau (joking) activity. This paper aims to reveal the form of presentation of bagurau lapiak in Payakumbuh and the society's view of women as singer. This stuy used qualitative descriptive analysis method with cultural anthropology approach to music which can be seen through the behavior of musical physic and verbal as cultural facts of individuals and community groups. The music and the communities’ behavior have a very close relation. This study also uses feminimisme theory to explain women’s role in the saluang dendang show. The result shows that the tunes, the rhymed text that are sung by women are a kind of communication between the singers and the audience. In the other hand, people support as well as criticize the woman singer based on traditional, religious, and performing art values. Keywords: pendendang women, Bagurau Lapiak, community views
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Shebanova, Vitaliia, and Nataliia Tavrovetska. "Application of the Instrumentarium of a Visual-Narrative Approach in Psychological Assistance to Personality." PSYCHOLINGUISTICS 24, no. 1 (October 3, 2018): 381–402. http://dx.doi.org/10.31470/2309-1797-2018-24-1-381-402.
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The article focuses on the application of a visual-narrative approach in providing psychological assistance to personality. It is shown that the narrative approach is now widely used by specialists, in solving a wide range of psychological problems of personality, in normalization of a psychological state of personality in crisis and traumatic situations.
The implementation of the narrative approach is done through the creation of oral and written texts while providing psychological assistance. The combination of a verbal creative product with metaphorical associative maps, photographs, leaflets, illustrations, mandalas, etc., allows us to distinguish the visual and narrative approach. «Texts» as a response to visual stimuli (associative maps, photographs, illustration, mandalas, etc.) can be of any character (biographical or imaginative) and any style (prose, rhymed and unrhymed verses, tales, personal stories, essays, etc.). In one version, the visual series may be primary, and the texts are secondary. In this case, «text» can be simply a detailed comment of the group member (client) or a creative author's text, which is made by the client. In another version, on the contrary, the texts can be primary, and then they receive visual stimuli, which are also further described and analyzed in their connection with the real life story of the client. The main points and principles of the narrative approach are presented. The stages of narrative psychotherapy are given: externalization of the problem (distancing the «problem» from a person); design (reconstruction) – a critical analysis of ideas that were uncritically learned that is, a kind of «unpacking» or «contextualization». It is shown that the narrative approach is considered as: – a means of the development of personality traits, the achievement of identity; – a form of awareness of personal experience; – a means of organizing a personal future and self-constitution; the method of intergenerational history analysis or correctional family psychotherapeutic method. The emphasis is placed on the special value of this approach as an effective means of psychological self-help.
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Karovych, A. "HOW UNDERGRADUATE OF PEDAGOGY LEARNS?" Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 162–85. http://dx.doi.org/10.33989/2226-4051.2021.23.238275.
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We live in a dynamically changing time, when a person must learn throughout life, constantly improve and adapt to new conditions. The ability to learn is one of the four foundations of education. The article presents selected excerpts from empirical research aimed primarily at understanding students' knowledge of teaching methods (mainly in the field of knowledge), as well as the most commonly used methods of memorizing material. The diagnostic study was performed by questionnaire. The questionnaire contained 39 closed and open questions. 130 students of pedagogical specialties of the University of Łód (took part in the survey (48 full-time and 82 part-time students). The experiment showed that students named (on average) two factors (positive and negative) that affect the learning process, only 24 out of 130 mentioned three factors. Respondents do not know teaching methods, in particular effective memorization: 80% of all students use multiple repetition, and other methods (prior knowledge, creating graphs, charts, tables, figures, links, chains of associations, funny stories, rhymes, the use of various colors, mental maps, mnemonics, etc. are used less. Most students (117 out of 130) admit that they have never sought knowledge about the learning process. Students are influenced by external (the need to prepare for exams, tests, practical classes), rather than internal motivation (the desire for self-improvement, professional self-realization). In many respects, full-time students showed more knowledge than part-time students. In addition, full-time students are slightly more likely to study voluntarily (regardless of academic background), not just before an exam or test. In both full-time and part-time study, students focus on gaining qualifications rather than knowledge.
Thus, students’ knowledge of the educational process is insignificant; they know only the main factors that affect the educational process, and a few well-known methods of learning. In the future, it may negatively affect the effectiveness of their professional and pedagogical activities. It is necessary to identify the reasons of the gained results: lack of interest in the subject, misunderstanding of the curriculum, indifference, and so on. The author is convinced that it is necessary to change the approach to learning and develop the need for self-improvement.
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Kristanto, Wisnu. "Javanese Traditional Songs for Early Childhood Character Education." JPUD - Jurnal Pendidikan Usia Dini 14, no. 1 (April 30, 2020): 169–84. http://dx.doi.org/10.21009/141.12.
Full textAbstract:
Character education in early childhood is not new, and character education is also not just a transfer of knowledge, but something that needs to be built early on through various stimula- tions. This study aims to develop the character of early childhood through audio-visual media with traditional Javanese songs. Using educational design-based research to develop audio-visual media from traditional songs, this media was tested in the field with an experimental design with a control group. Respondents involved 71 kindergarten students from one experimental class in one control class. The data revealed that character education in children shows the average value of the experi- mental class is higher than the control group, this means character education in children can be built through traditional songs. Further research can be done to improve the character of early childhood through a variety of media that interests children.
Keywords: Early Childhood, Character Education, Javanese Traditional Songs Media
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Gietz, Merrilee R., Jean F. Andrews, and M. Diane Clark. "ASL Stories with Handshape Rhyme: An Exploratory Intervention to Support English Vocabulary with Signing Deaf Readers Abstract An exploratory reading intervention using ASL stories, some with no visual handshape rhymes and others with handshape rhymes, t." Archives of Psychology 4, no. 2 (May 20, 2020). http://dx.doi.org/10.31296/aop.v4i2.139.
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Abstract
An exploratory reading intervention using ASL stories, some with no visual handshape rhymes and others with handshape rhymes, to foster English print vocabulary was evaluated. Four signing deaf students, who were prelingually and profoundly deaf, between the ages of seven and eight years of age and reading at the first-grade level or below were engaged in the intervention. During group story time sessions, stories in American Sign Language (ASL) were presented on PowerPoint slides that included stories translated into both ASL and English, and short lessons using bilingual strategies. Using a pretest-posttest design, the print words were presented within ASL stories across three conditions; 1) with no ASL handshape rhyme, 2) with ASL handshape rhyme, and 3) with English word families (e.g., cat, sat, bat) that rhyme. Students’ vocabulary scores were significantly higher on the ASL stories with handshape rhymes, marginally significant in the non-rhyming ASL stories, and non-significant in the ones with rhyming English word families. This findings point to the importance of rhyme for young deaf children attending ASL/English bilingual programs and suggest that creating ASL stories with rhyme can help to bootstrap literacy. Future directions for research are recommended.
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Tomasouw, Jolanda. "KAJIAN PUISI JERMAN MELALUI METODE SEMIOTIK." LiNGUA: Jurnal Ilmu Bahasa dan Sastra 6, no. 2 (March 19, 2012). http://dx.doi.org/10.18860/ling.v6i2.1454.
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As one type of literature, poetry, the unit called a rhyme, is the most unique genre. The uniqueness is due to all forms of expression that stick out in rhyme. In contrary to other literary works such as short stories, novels, or plays, poems written succinctly in the form of stanza and line. Due to the density of the message to be conveyed in such a confined space, then the choice of words and forms of writing that used very unique and complex elements by accentuating of poetic sense. That means, understanding a poem as a form of literary works the same as dealing with the texts of poems that are strung in a poetic language different with language in general. The uniqueness of the language used in the poem appeared on the use of symbols words that are figurative and the use of a distorted form of writing. Deviation form is for example the accentuation of cutting sentences or lines unreasonably, the use of words and sounds are repetitive, the use of words by imitating certain sounds or the use of meaningful associative words excessively. Modern German poetry lies in the harmony of the poetic elements that build a rhyme. Thus the resulting of rhyme and diction values and its imagery is based on how the elements that form the building of rhyme which is coherent and intact. The process of reading poetry in the context of semiotic dialectic is a process of giving meaning to a text of modern poetry through a text search in order to find the code or semiotic signs.<br /><br />Keywords: Puisi Jerman, Modern, Semiotika<br /><br />
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Hamonic, Laura. "Little Bunny's Own Storybook by M. Welwood." Deakin Review of Children's Literature 7, no. 2 (October 30, 2017). http://dx.doi.org/10.20361/g2xx0b.
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Welwood, Margaret. Little Bunny's Own Storybook, illustrated by Nataly Vits, Bomars Ventures, 2017.Margaret Welwood tells the story of a little bunny, who wants to spend the day at his favourite place, the library. Unfortunately, it is closed, and he must find another way to occupy himself. The little bunny feels sad because he does not want to play outside or with his toys, but then has the idea to make his own book. He collects paper, crayons, glue, and paint, and goes about writing his own story. The little bunny spends the day busily working on it. Then he reads his new book to his parents, who love the story. Finally, the little bunny encourages the reader to write their own stories and create their own books.This book has gentle, watercolour illustrations that give an almost dream-like quality to the book. Most pages are dominated with browns, greens, and blues. Each illustration fills a single page with the text written in a soft white bubble that overlays the images. The images are very pretty, but they do not add more information to the book, beyond what can be gleaned from the text itself.The text is an interesting combination of simple structure and rhyme scheme with complex and advanced vocabulary. The second and fourth line of every page rhyme, which gives the book a pleasant and familiar lilt. However, because of the use of words like “antidote,” the language seems somehow discordant. This book indicates that it is intended for children aged 3 to 8, but the vocabulary would likely be too difficult for 3-year-olds, and the simple story line would likely be uninteresting for 8-year-olds. As a result, I would recommend it more for children aged 5 to 6. The book is clearly meant to convey the pleasures of reading and the library, as well as creating and sharing. As a result, I would recommend this book for public libraries. Recommended: 3 stars out of 4Reviewer: Laura HamonicLaura Hamonic is an Academic Library Resident at the University of Alberta’s Science and Technology Library. She has a passion for all things crafty and spends her days cross stitching, crocheting, and costume making.
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Bambang Prawiro, Abdurrahman Misno. "BADUY PLURALISM: FROM MYTH TO REALITY." Al-Albab 2, no. 1 (June 1, 2013). http://dx.doi.org/10.24260/alalbab.v2i1.27.
Full textAbstract:
Indonesia is a land of many tribes, with each tribe having different customs. However they have a bond in the form of the state motto, Bhineka Tunggal Ika. This motto is based on a philosophy embraced by every tribe in the form of the teachings passed down from the ancestors such as pantun (Malay poetic form), rhyme, guguritan (Sundanese literary works), history and myths. Myths here are stories about things that happened in the past in the form of the history of the origins of man and nature, or the origin of a nation. Myths as a local wisdom are believed to be the truth by every member of the tribe applied in everyday life. This includes the myth that tells about human cultural diversity (plurality), and the community will implement its content. What about the Baduy community in Banten, do they have myths and apply the myths that deal with pluralism in their life? The Baduy are one of the ethnic groups in Indonesia who have myths about the creation of the universe, human origins, and even myths about the events that will occur. The myth about the origin of humans in the Baduy community begins with the creation of Adam as the first human, and then he had children that gave birth to the whole nation in the world. Because every human in the world is the great-grandsons of Adam, the Baduy believe that all humanity is dulur (brother) despite differences in customs and religion. The reality of social life of the Baduy community, either Baduy Dalam (inner baduy) or Baduy Luar (outer baduy) is that they greatly respect all mankind despite the different cultures and religions. Prohibition to enter the Baduy traditional village for foreigners is because of historical factors, namely the agreement made by their ancestors with the Dutch. This research concluded that the Baduy society is a society that understands the plurality of cultures; it is based on a myth that they believe and apply in their life about tolerance of other religions.
Key Word: Pluralism, Baduy, Lebak Banten, myth and reality
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Broderick, George. "Manx traditional songs, rhymes and chants in the repertoire of the last native Manx speakers." Studia Celtica Fennica 16 (March 6, 2020). http://dx.doi.org/10.33353/scf.83305.
Full textAbstract:
The following collection of Manx traditional songs and song-fragments derives from a series of scientific surveys on obsolescence in Manx Gaelic from native Manx speakers undertaken in Man between the years 1886 and 1972. These surveys involved the gathering of linguistic material, whether through phonetic notation of textual readings or questioning, formal questionnaires, and / or sound-recordings, in order to enable a phonological and morphological assessment of the state of Manx Gaelic at the time. Such material also included connected prose-texts in the form of stories and anecdotes, as well as lyric-texts consisting exclusively of traditional songs, rhymes, chants, etc., either complete or in fragmentary form.
Though it will be seen that many of the song-texts exist only in fragmentary form, this does not necessarily mean that the informant could not have given more. The reasons for this may be multiple: e.g. the unusual circumstances of the recordings. i.e., in the formal context of an interviewer-interviewee interface whereby the interviewee would likely not have been fully at ease. Nevertheless, the material available to us today is in my view sufficient to give us a good idea of what the informants could offer.
The song-texts gathered from the last native Manx speakers are brought together for the first time to enable a concise overview.