Kontribusi Tokoh Punakawan pada Pagelaran Wayang Kulit terhadap Pendidikan Islam kepada Masyarakat

<p><em>Wayang as the only entertainment for </em><em>the </em><em>people is used as a media approach to convey Islamic teaching values. </em><em>T</em><em>his </em><em>is</em><em> adopted by Sunan Kalijaga as a media approach. By including a new character </em><em>which is</em><em> The Punakawan in the middle of a popular character previously, Pandawa Lima, even though it is not in the original story. Wayang is so attached to Javanese culture and tradition although that story is taken from India. The punakawan figure becomes a differentiator in the wayang kulit story that is carried out with the Javanese punakawan's distinctive name having a prerequisite meaning with Islamic values. Punakawan also teaches moderation in religion that does not intersect with local culture. This study uses a literature study approach, data collected through books, notes, historical stories and others. Islamic education always puts forward a moral and moral approach, from this aspect</em><em>,</em><em> the Punakawan figures are raised. The Javanese people believe that the existence of Punakawan figures seems to have lived in the real world, for example Mount Tidar in Cilalap Regency is believed to be the place where Semar lives.</em><em></em></p>

Theatre as TBLT: The implementation of theatre in a high school EFL Oral Communication course in Japan

<p>Task-based learning and teaching (TBLT) has garnered growing interest from educators in EFL contexts around the world, particularly in East Asian classroom contexts such as Japan where prominent entrance examinations can exert a strong influence on pedagogy (Wada, 2002; Stewart, 2009). Aiming to increase communicative practice during class in such contexts, implementation of TBLT has yielded mixed results and some have questioned the ability of TBLT to achieve its objectives given the institutional constraints present in those contexts (Carless 2004, 2007, 2009; Butler 2011; Sato 2010, 2011). Most of these studies explore pedagogical tasks of a more conventional nature and overlook how holistic activities from other disciplines outside of language teaching can function as legitimate examples of TBLT. The current study nominated theatre as one such holistic activity and examined the implementation of theatre as a form of task-based pedagogy, following the study of Carson (2012). The theatre tasks were designed to fulfil the criteria for creative tasks, as described by Willis (1996) and the present study investigated to what extent theatre could promote language learning within such a task-based approach (e.g. Ellis 2003, 2009; Shekan 2003; Samuda & Bygate 2008). The main study was quasi-experimental in design and investigated whether two types of theatre tasks could function as viable instructional packages. The theatre tasks were either a theatrical adaptation of an existing story (Adapted Play) or an original story based on one of three provided themes (Original Play). These two tasks were distinguished by the different amounts of conceptual creativity that they required, with the Original Plays identified as more difficult due to their greater creative demands. Three aspects of these tasks were analysed: 1) the process of collaboratively devising a play; 2) the effects of task difficulty on the language produced in the task performance; and 3) the students’ reflections on their engagement with the tasks. The implementation of these tasks occurred during regularly scheduled Oral Communication (OC) classes at a high school in Japan. With a counterbalanced design, groups of six to seven students performed one of the tasks in the first study and then, after a period of ten weeks, performed the other task. Either task consisted of approximately 100 minutes of planning and rehearsal, spread out evenly over four class periods, and culminated in a staged performance during a fifth lesson. The data compiled for analysis was taken from audio and video recordings of both group work in class and the final performances of each group, as well as post-task surveys administered to each student individually after each study. The main findings of this analysis were: (1) students in the Adapted Plays produced more fluent and syntactically complex language while students in the Original Plays produced less complex but more accurate language; (2) the Adapted Plays featured more use of overt narration which influenced the fluency and complexity of those plays; (3) student reflections from their post-task surveys indicated that the collaborative element of the tasks increased intrinsic motivation for completing the task; and (4) less initial demands on conceptual creativity in the Adapted Plays appeared to free up time later in the process to compose longer stories, though the frequency and quality of language related talk did not differ noticeably between the two play types. Based on these findings, two points can be argued. Firstly, the Original Play tasks put increased demands on students’ conceptual creativity. In relation to this, the provided content of the Adapted Play tasks acted as an ‘embedded scaffolding’ (Shapiro, 2008). Secondly, theatre, envisioned as a creative task within a TBLT framework, satisfied the criteria for a task (Ellis, 2003) but raised issues regarding the constructs of planning and report found in the ‘task cycle’ of Willis’ (1996) pedagogical framework.</p>

Theatre as TBLT: The implementation of theatre in a high school EFL Oral Communication course in Japan

<p>Task-based learning and teaching (TBLT) has garnered growing interest from educators in EFL contexts around the world, particularly in East Asian classroom contexts such as Japan where prominent entrance examinations can exert a strong influence on pedagogy (Wada, 2002; Stewart, 2009). Aiming to increase communicative practice during class in such contexts, implementation of TBLT has yielded mixed results and some have questioned the ability of TBLT to achieve its objectives given the institutional constraints present in those contexts (Carless 2004, 2007, 2009; Butler 2011; Sato 2010, 2011). Most of these studies explore pedagogical tasks of a more conventional nature and overlook how holistic activities from other disciplines outside of language teaching can function as legitimate examples of TBLT. The current study nominated theatre as one such holistic activity and examined the implementation of theatre as a form of task-based pedagogy, following the study of Carson (2012). The theatre tasks were designed to fulfil the criteria for creative tasks, as described by Willis (1996) and the present study investigated to what extent theatre could promote language learning within such a task-based approach (e.g. Ellis 2003, 2009; Shekan 2003; Samuda & Bygate 2008). The main study was quasi-experimental in design and investigated whether two types of theatre tasks could function as viable instructional packages. The theatre tasks were either a theatrical adaptation of an existing story (Adapted Play) or an original story based on one of three provided themes (Original Play). These two tasks were distinguished by the different amounts of conceptual creativity that they required, with the Original Plays identified as more difficult due to their greater creative demands. Three aspects of these tasks were analysed: 1) the process of collaboratively devising a play; 2) the effects of task difficulty on the language produced in the task performance; and 3) the students’ reflections on their engagement with the tasks. The implementation of these tasks occurred during regularly scheduled Oral Communication (OC) classes at a high school in Japan. With a counterbalanced design, groups of six to seven students performed one of the tasks in the first study and then, after a period of ten weeks, performed the other task. Either task consisted of approximately 100 minutes of planning and rehearsal, spread out evenly over four class periods, and culminated in a staged performance during a fifth lesson. The data compiled for analysis was taken from audio and video recordings of both group work in class and the final performances of each group, as well as post-task surveys administered to each student individually after each study. The main findings of this analysis were: (1) students in the Adapted Plays produced more fluent and syntactically complex language while students in the Original Plays produced less complex but more accurate language; (2) the Adapted Plays featured more use of overt narration which influenced the fluency and complexity of those plays; (3) student reflections from their post-task surveys indicated that the collaborative element of the tasks increased intrinsic motivation for completing the task; and (4) less initial demands on conceptual creativity in the Adapted Plays appeared to free up time later in the process to compose longer stories, though the frequency and quality of language related talk did not differ noticeably between the two play types. Based on these findings, two points can be argued. Firstly, the Original Play tasks put increased demands on students’ conceptual creativity. In relation to this, the provided content of the Adapted Play tasks acted as an ‘embedded scaffolding’ (Shapiro, 2008). Secondly, theatre, envisioned as a creative task within a TBLT framework, satisfied the criteria for a task (Ellis, 2003) but raised issues regarding the constructs of planning and report found in the ‘task cycle’ of Willis’ (1996) pedagogical framework.</p>

PHYSICS AND METAPHYSICS OF FICTION REFLECTED IN FILM: A CASE OF DECRYPTION

The article deals with religious, materialistic, and mixed interpretations of the thing and the personality as generic entities in the story «Oh, whistle, and I'll come to you, my lad» by M. R. James and its screen versions. The differences found in the versions concern petty and significant deviations from the original story, which influence the initial message. The method used to achieve the results represented in the article combines the ideas of Philosophical Hermeneutics and those of the medieval exegetical method of allegorese applied to deal with obscure passages in sacred texts. The original story treated within the Protestant ideological paradigm gives way to materialistic views that are subject to refutation, reconsideration, and combination with philosophical issues in the screen versions – transponents. The thing as an inanimate object is endowed with personal qualities of a living being; on the contrary, an individual is viewed as a thing with no mind.

Translating linguistic time

If Sartre is right and the tense of a text holds the key to its special strangeness (1947), how does this strangeness fare in translation? What can we learn from looking at the translation of grammatical tense and aspect in narrative texts in different languages? It is often simply assumed that translating grammatical cate gories of time in languages - because it has to do with what is considered the hard core of language, i.e. the grammar as opposed to the lexicon of the language - mainly involves mere linguistic constraints. Jakobson ’s famous motto (1987: 433) - “languages differ essentially in what they must convey and not in what they can convey”- would therefore suffice to tell the whole story about the way in which linguistic time is translated. This paper argues, however, that this is not the whole story: it argues that the choice of tense in translation is more than just a grammatical agenda, and may actually reflect a number of different commitments. Section 2 examines some intriguing tense changes in the translation of children ’s literature: it discusses the motivations behind these changes and shows that by changing the ‘how’ of the original story through the tense choice the entire subjective perspective of the text is altered. Section 3 identifies a few patterns in the translation of past distinctions in Modern Hebrew. It suggests that in contrast to the more diversified means of translating aspectual meanings in previous decades, a major trend in the last decade or so has been to reduce all past sphere distinctions essentially to one single form, i.e. the simple past tense. Finally section 4 deals with the classical problem regarding the Biblical Hebrew tenses and their translation; it shows that the translation of the biblical verbs may be strongly determined by the different linguistic ideas (and even systematic theories) the translators adopt regarding the Biblical Hebrew tenses. In all these cases then, we observe that the translation of temporal meanings involves not only a commitment to specific temporal interpretations but also a commitment to more subtle conceptions of subjectivity in translation, of literary conventions and linguistic ideas.

Ferrocenylmethylphosphanes and the Alpha Process for Methoxycarbonylation: The Original Story

The Lucite Alpha process is the predominant technology for the preparation of acrylics. This two-stage process involves the palladium-catalysed formation of methyl propanoate from ethene, CO, and methanol, followed by the oxidative formylation of methyl propanoate into methyl methacrylate. A range of bis-1,2-disubstituted aminomethylferrocenes has been prepared and characterised. These complexes serve as precursors to a variety of bulky ferrocenylmethyldiphosphanes that, in turn, function as ligands in the palladium-catalysed process. We describe the crystal structures of five ligand precursors and provide a rationale for their design. In situ catalyst testing on palladium complexes derived from ferrocenylphosphanes demonstrates that these are highly selective (>99.5%) catalysts for the formation of methyl propanoate from ethene, CO, and methanol and have turnover numbers exceeding 50,000. This article credits those researchers who worked on this project in the early days, who received little or no credit for their achievements and endeavours.

Easy Rider and Thelma & Louise revisited, or on experimental film remakes of the road movie

Although remakes and road movies are particularly endemic to Hollywood cinema, experimental filmmakers have also embraced the road movie tradition and reproduced existing material for new audiences to retell, readdress and rearticulate the prior story, exploring the dialectics between repetition, differentiation and genre. Interestingly, however, while the remake, seen mostly as a genre phenomenon, has received some critical attention, remaking in the avant-garde film scene has been rarely explored by adaptation theory and practice. To somewhat fill in this gap, the article situates two recent avant-garde films, James Benning’s Easy Rider (2012) and Jessica Bardsley’s Goodbye Thelma (2019), within the framework of remake and adaptation studies and proposes that both works function as acknowledged and transformed remakes of the classic road movies, in which the outcome radically differs from the original story and crosses the temporal and spatial boundaries of the genre. In doing so, the projects fit in with the broader tradition of cinematic reworking and recycling as they continuously reference and exploit earlier films by creating their alternative versions as well as a strong sense of place and movement.

Understanding Transmedia Music on YouTube through Disney Storytelling

Transmedia storytelling has been integrated into contemporary society through social media, where influencers have enabled the building of worlds. Within this environment of human-interaction, fiction and converging social realities have become an essential tool to tell stories. On YouTube, storytelling has expanded to music, where cover videos take on great relevance. The aim of this study is to understand the transmedia music phenomenon due to the impact of music on the platform. To this end, we applied a methodology that stemmed from Grounded Theory principles in the analysis of 300 Disney animation song covers in three stages: (1) deductive and inductive codebook development; (2) social network analysis; and (3) statistical test. The results showed that youtubers highlight specific audiovisual codes from the film and cultural industries. Furthermore, we observed these productions often display configurations that expand the original story through performance, location, costumes, make-up, among others. We argue that, on the digital sphere, a sustainable transmedia music paradigm is developing, where performers construct more meaningful and valuable stories.