PERAN LINGKUNGAN BELAJAR DALAM PEMBENTUKAN KARAKTER PESERTA DIDIK DI LEMBAGA PENDIDIKAN PONDOK PESANTREN SALAFIYAH SYAFI’IYAH SUKOREJO

Educational institutions are a learning environment that is a planned container that is believed to be able to change or shape children's character to be better than before with all their potential. The learning environment should be understood as an important factor in shaping the character of students after the family environtment. The thing that needs to be considered in the success of character education in schools is a conducive-academic environment.The school environment can affect the child's personality, and from the environment, students will learn and shape their character naturally.The result showed the things that affect to character formation in educational institution at Pondok Pesantren Salafiyah Syafi’iyah area conducive learning environment and then in its implementation exemplary models, habituation, and discipline from all parties so that there is a real role model for students how to give examples of real character in life.

The Heroine Concept in a Filipino Graphic Narrative

This study explored the concept of “HEROINE” in the context of “Darna,” a Filipino graphic narrative written by Mars Ravelo that was first published on May 13, 1950 by Filipino Komiks. Extracted from the 27 episodes of “Darna” are realities of experience as well as innuendos related to the real character of Darna, the super heroine. Further, the study delved into a deeper meaning of heroine beyond its lexical meaning. As a result, the researcher formulated her own definition of “HEROINE” as “Humaneness and Equanimity in Reimagining Optimistic, Iconic, Novel, and Empowered” persona, which led to the findings that, indeed, Darna has reached her apotheosis as a superheroine. These insights were not fathomed had it not been for the researcher’s focus on close reading, application of Expressive Realism, and “Argustic” reading. Keen eyes are needed to enjoy reading a graphic narrative which is both visual and verbal. The study proved that in Philippine society, Darna is the most accepted, loved and idolized Filipino icon as savior of a devastated and crippled society after World War II. Lastly, it is aimed that this humble analysis will put itself into the realm of a body of Pop Literature and the Humanities.

1871‒1877

By now widely recognized as England’s leading composer, Arthur Sullivan devoted the first half of the 1870s to sacred works, including a massive Te Deum to celebrate the recovery of the Prince of Wales from typhoid fever (1872), his most significant oratorio, The Light of the World (1873), forty-two original hymn tunes and seventy-five hymn tune arrangements and numerous sacred songs and ballads. The Light of the World broke significant new ground by dispensing with a narrator and for the first time in English oratorio making Jesus a real character who appeared and sang and interacted with other characters. As well as acting as editor for a major Anglican hymnal, Church Hymns and Tunes (1874), Sullivan wrote numerous hymn tunes, including the ever-popular ST GERTRUDE for ‘Onward, Christian soldiers’ and NOEL for ‘It came upon the midnight clear’. He may also have had a hand in ST CLEMENT for ‘The day, Thou gavest, Lord, is ended’. In 1877, sitting at the bedside of his dying brother, he wrote the tune for his sacred ballad, ‘The Lost Chord’ which became the best-selling song of the last quarter of the nineteenth century.

LINGUISTIC AND LITERARY ANALYSIS OF BUNIN’S SHORT STORY «DARK ALLEYS»

Постановка задачи. Статья посвящена лингволитературоведческому анализу рассказа «Тёмные аллеи» И.А. Бунина с целью овладения методами данного вида исследования текста художественного произведения. В статье ставится задача рассмотреть лингвистическую структуру рассказа с точки зрения лексики, перевода, словообразования, морфологии и ономастики. Особое внимание обращается на лингвистическую основу и лексическую базу данного рассказа. Результаты. В данной работе выделены и описаны особенности устаревших, безэквивалентных, заимствованных и калькированных слов, с помощью которых выражается историческое пространство рассказа «Тёмные аллеи» И.А. Бунина. Проанализированы авторские средства кодирования информации, касающейся важных исторических событий. Выяснено, с помощью каких языковых средств автор выражает идейно-эмоциональные стороны своего рассказа, выявлена лингвистически значимая информация о языковых единицах, используемых для отражения реальной характерности в тексте произведения. Выводы. Анализируя рассказ И. А. Бунина, мы пришли к выводу о том, что ономастический материал рассказа играет специфическую роль: имя героя выбрано автором в честь русского офицера - Николая Алексеевича Киреева, а имя Иова - в параллель «несчастности» автора ради своей прихоти. В результате анализа доказывается, что никаким быстрым чтением текст рассказа не охватить. Данный рассказ был написан с помощью средств разных разделов языка: лексики, словообразования, морфологии и ономастики. В текст рассказа нужно вчитываться, т.к. поместив этот рассказ в сборник «Тёмные аллеи», И.А. Бунин тем самым подчёркивает, что он описывает не только любовь, но также и историю, причем не одну, а сразу две. Problem statement. The article is devoted to the linguistic and linguistic-and-literary analysis of the short story «Dark alleys» by I.A. Bunin aiming at mastering the methods of such type of analysis of an art work. The article aims to consider the linguistic structure of the story in terms of vocabulary, translation, word formation, morphology and onomastics. Special attention is paid to the linguistic basis and lexical base of this story. Results. This paper highlights and describes the features of outdated, non-equivalent, borrowed and calque words, which are used to express the historical space of the story «Dark alleys» by I.A. Bunin. The author's means of information coding concerning important historical events are analyzed. It is found out by what language means the author expresses the ideological and emotional sides of his story and linguistically significant information about the language units used to reflect the real character in the story is revealed. Conclusion. Analyzing the short story of I.A. Bunin, we came to the conclusion that the onomastic material of the story plays a specific role: the name of the main character was chosen by the author in honor of the Russian officer - Nikolai Alekseevich Kireev, and the name of Job in parallel to the "unhappiness" of the author for his whim. As a result, we prove that the text of the story cannot be covered with any quick reading. This story was written using the tools of different language sections: vocabulary, word formation, morphology and onomastics. The story should be read carefully, because placing it in the collection «Dark alleys», the author thus emphasizes that he describes not only love, but also history, and not one, but two at once.

De revolutionibus Mikołaja Kopernika a doktryna podwójnej prawdy

The presented article is an attempt to answer the question: whether Copernicus in De revolutionibus did not preach the doctrine of double truth? In the first part it is pointed out that the thesis he adopted about the real character of the Earth movement is contrary to the scholastic principles of philosophy and theology. From this point of view, it is exposed to the above allegation. The second part of the article shows the strategy adopted by Copernicus to avoid suspicion of proclaiming the double truth. He defined the basic principles of the new science. He has adopted the mathematical structure of the world. He synthetically linked the movements of all planets due to the movement of the Earth. He showed the coherence of the heliocentric system with the biblical arguments.

A Propósito do Fundo do uso coloquial à pedra angular da Arquivística custodial e patrimonialista

This paper establishes the coincidences between the narrative of José Saramago’s novelentitledTodos os Nomes(1997) and the actions of Natalis de Wailly in 1841 by order of Napoleon Bonaparte, France Imperator at that time, with the aim of creating an operative framework to organize the documentsof the France National Archives which had been dismantled to attend Bonaparte’s governance. The broadobjective of this paper is to analyze the peculiarities of the word ‘fonds’used in Saramago’s book and of the technical term Fonds created by Natalis de Wailly. Specifically, it aims to approach the multifunctional character of the word ‘fonds’colloquially used in Todos os Nomes(1997) and its transformation in technical and operative stratagem by Natalis de Wailly in 1841; highlight the conceptual confusions between Fonds, Archive Fonds and Archive present in custodial Archivistics and show the relations between the attitude of Mr.José (fictional character in Saramago’s plot) and the positionof Natalis de Wailly (real character of France of the 19thcentury) in regard to the manner how both, each one in his spatial/temporal context, personifythe maxim “You know the name you were given, you do not know the name that you have”.

Book Article Review: Defending and Creating Place Identities

The authors selected four neighborhoods in Melbourne. Two older suburbs, Camberwell and Fitzroy; were in threat from the new development challenges. Characters are something pre-existed. Here dominant architectural styles with heritage value also regarded as important factor. On the other hand, two new housings like Beaconcove and Caroline Springs were modeled after imposed character. They tried to find place identities in residential developments. For that, front gardens of suburbs had been identical marketing agenda which created instinct character of space. To find out the real character of space, authors asked several questions to the inhabitants: how they react about mixed ethnicity, building code’s impact over planning decisions and at which limit they might tolerate change for the sense of place? This review will try to find the place making extracts from the book ‘Becoming spaces'.

The Brilliance of The Double: Why Don’t Critics Understand Dostoevsky?

In the euphoria of the success of Poor Folk Dostoevsky wrote an inventive work — a fantastical novel with an absurd plot, in which two completely similar characters act: two Yakov, two Petroviches, two Golyadkins, two titular councilors serving in the same department. Their similarity is not explained in any way. According to the author, this is “a completely inexplicable incident,” however, critics keep trying to explain the appearance of the double. The range of interpretations is extensive — from the rationalistic and empirical rejection of fantastika to numerous psychopathological, ethical, social and other concepts of it. They have the same status: they are all nontextual readings of the work. Critics do not read Dostoevsky, rather, they compose their own version of The Double. It all started with Belinsky, who made factual errors in the analysis of The Double. Dobrolyubov frankly admitted that his explanation of the double was formed “while thumbing through” the story. All subsequent interpretations are variations of their explanations of fantastika. Dostoevsky was sensitive to the misunderstanding of readers and critics. In 1862 and 1864, he created drafts with the aim of revising The Double. Unable to carry out this plan, in September 1866 Dostoevsky cut down the magazine’s editorial staff and made other changes that polemically opposed the interpretations of Belinsky and Dobrolyubov. The analysis of the two editions of The Double and the materials in the 1862-1864 notebooks (Russian State Library. F. 93.I.2.6 and 93.I.2.7) demonstrate that Dostoevsky did not think of The Double as a ghost, hallucination, or the delirium of a madman, but, rather, considered him a real character in the story. Denying the similarity and protesting against the immorality of the younger Golyadkin, the elder proclaims: man is unique. This idea was a development of the anthropological principle that Dostoevsky discovered in Poor Folk and later vividly expressed in Notes from the Underground.

The Brilliance of The Double: Why Don’t Critics Understand Dostoevsky?

In the euphoria of the success of Poor Folk Dostoevsky wrote an inventive work — a fantastical novel with an absurd plot, in which two completely similar characters act: two Yakov, two Petroviches, two Golyadkins, two titular councilors serving in the same department. Their similarity is not explained in any way. According to the author, this is “a completely inexplicable incident,” however, critics keep trying to explain the appearance of the double. The range of interpretations is extensive — from the rationalistic and empirical rejection of fantastika to numerous psychopathological, ethical, social and other concepts of it. They have the same status: they are all nontextual readings of the work. Critics do not read Dostoevsky, rather, they compose their own version of The Double. It all started with Belinsky, who made factual errors in the analysis of The Double. Dobrolyubov frankly admitted that his explanation of the double was formed “while thumbing through” the story. All subsequent interpretations are variations of their explanations of fantastika. Dostoevsky was sensitive to the misunderstanding of readers and critics. In 1862 and 1864, he created drafts with the aim of revising The Double. Unable to carry out this plan, in September 1866 Dostoevsky cut down the magazine’s editorial staff and made other changes that polemically opposed the interpretations of Belinsky and Dobrolyubov. The analysis of the two editions of The Double and the materials in the 1862-1864 notebooks (Russian State Library. F. 93.I.2.6 and 93.I.2.7) demonstrate that Dostoevsky did not think of The Double as a ghost, hallucination, or the delirium of a madman, but, rather, considered him a real character in the story. Denying the similarity and protesting against the immorality of the younger Golyadkin, the elder proclaims: man is unique. This idea was a development of the anthropological principle that Dostoevsky discovered in Poor Folk and later vividly expressed in Notes from the Underground.

Retracing the Tragic Hero in Sophocles' Oedipus Rex and Philip Roth's The Human Stain: تتبع البطل المأساوي في سوفوكليس الملك أوديب وفيليب روث وصمة عار الإنسان

This paper reevaluates the fundamental status of Coleman Silk in Philip Roth’s The Human Stain and Oedipus in Sophocles' Oedipus Rex by testing their characters against Aristotelian tragic hero's elements. In spite of the verifiable comparisons to Oedipus, Coleman is not a neglected figure, but a subverted one that underpins Roth's proposal of "the different nature" of inconceivable postmodern American tragedy. In Philip Roth’s The Human Stain, the protagonist Coleman Silk is implicitly linked to Sophocles' classical figure Oedipus in Oedipus Rex. The plot is interwoven with allusions to Greek tragedies, but in The Human Stain Coleman lacks the stature and the real character of Oedipus. In addition, Coleman lacks, to some extent, the real elements of a tragic hero that constitute the Catharsis: the process of releasing and providing relief; a conflict which raises the question; is Coleman really a tragic hero? According to Aristotle, the tragic hero should experience a dilemma and a massive transformation from valuable standards to lower depth, and this person should suffer particularly after committing a mistake, or even thinking about his past deeds. The tragic hero should be relatively a commendable person whose comeuppance is brought about by his own fallacies which he did not commit out of defect or wickedness, but out of his own serendipity. Following the ancient Greek concept which asserts that fluke is associated with actions, Coleman is a fortuitous man at first, unlike Oedipus, despite being born as a black man. Because of this unlucky fact, he is capable of changing his identity and rising up to the level of preeminence.