Developing Writing Module “Retisa de Rikayat” South Sumatera

This research and development is motivated by the desire and hope of materializing learning materials that have relevance to the learning and psychological needs of Indonesian Language Education students, especially giving the effect of a writing culture embedded in students. The long-term goal is the formation of independent, creative, and productive student literacy characters in an effort to empower themselves to explore the ability to write literary works, especially folklore. The modules are developed based on the Rowntree development model. The procedure is divided into three main stages, namely needs analysis, developing draft modules, and evaluating expert lecturers. The subjects of this study were students of Indonesian Language Education FKIP, PGRI Palembang University who took the Literature Writing course. To measure the level of validation of the writing module, Retisa de Rikayat in supporting the mastery of the ability to write literary works was evaluated by expert lecturers in the field of Indonesian language. The writing module of Retisa de Rikayat is quite effective as an alternative complementary teaching material for writing literary works, especially learning to write folk tales. This is in accordance with the results of the assessment, this module has an average score of 76.8 from expert lecturers which is in the good category and is arranged according to the analysis of student needs.

Free indirect speech in Croatian oral folk tales

This paper considers free indirect speech (FIS) in Croatian oral folk tales (fairy tales, legends, oral tradition and fables). Oral folk tales (folklore) from all parts of Croatia, and that in all three Croatian dialects (the Shtokavian, the Chakavian, and the Kajkavian) have been analysed. Special attention is paid to first-hand accounts according to authentic tellings in recent times. The types of FIS that are commonly attributed to the linguo-stylistic characteristics of modern art prose have been con[1]sidered. Additionally, some techniques that also indicate SNG have been analysed, which has neither been noticed nor described in the hitherto Croatian philological literature. It is concluded that FIS is a linguo-stylistic device which affects the way of delivering (creating) a story, but it is also a feature which distinguishes one tale from another.

Popular Religious Traditions, British Military Recruitment and the Social Construction of Masculinity in Colonial Haryana

It is generally assumed that colonial institutions and ideologies shaped the contours of masculinity in British India. This paper explores endogenous factors and attempts to supplement as well as contest such approaches and interpretations which claim that masculinity in India was a colonial construction. The emphasis is on folk traditions, religious customs, qaumi (folk) tales and physical culture akh???s (gymnasia) among the Jats in colonial Haryana,1 which went into the making of dominant masculinity in this region. The paper draws upon vernacular language materials and newspapers to analyse the different ways in which the socially endogenous forces constructed this masculinity. It argues that a complex interaction of popular religious traditions, qaumi narratives, military recruitment, marital caste designation, ownership of land, superior caste behaviour and strong bodily physique came to ideologically link and construct dominant masculinity in colonial Haryana.

APPLICATION OF AUGMENTED REALITY TECHNOLOGY IN THE ANIMATION OF THE KANCIL CHILDREN'S STORYBOOK

There are relatively many Indonesian fairy tales that are spread in the community, have characters with good and evil temperaments. Usually take folk tales about teaching goodness, behaving smartly, and being able to distinguish between good and bad. Also teaches children not to be arrogant, insulting other people. The learning process is usually in the delivery of material using only pictures, dolls, or videos that are commonly seen by children. Conventional media used for learning reduce children's enthusiasm. On this occasion, to answer the problem of media that is less attractive to children by using Augmented Reality (AR), because it can help visualize abstract concepts so that it can be used for understanding the image object and the structure of an object model. results of making applications using Augmented Reality, assessed from the aspects of cognitive, affective, psychomotor, technological, and the benefits of getting good interpretation results.

INDIGENOUS LIVESTOCK MANAGEMENT SYSTEM IN EGBA ZONE OF OGUN STATE, NIGERIA

This study assessed the management of indigenous livestock in Egba zone of Ogun State using one hundred and forty four farmers and twenty Village Extension Agents. Data were collected with interview schedule and questionnaire respectively. The study revealed that indigenous livestock farmers were of average age of 48 years, mostly (77.8%) native of these communities sampled and literate (63.2%), more female (58.3%) and they were not cosmopolite (83.3%). Poultry, sheep and goats are mostly kept by indigenous livestock farmers, followed by cattle and pig, snail and rabbit by a few farmers. Most (66.7%) farmers raised their livestock on free range while few provided feeding and housing for their animals. Local materials were used for feeding, housing, and ethno-veterinary care for animals. Livestock farmers earned an average of twenty one thousand seven hundred and fifty naira monthly from their animals. The materials livestock farmers used included pawpaw seeds for deworming, lime and sandpaper leaf to control lice, sulphur, lime and palm oil to control mange; Iyeye leaves [Spondia mombin] for treatment of diarrhea in ruminants. Communication methods used in the diffusion of ethno-veterinary practices were town criers, traditional songs and festivals, folk tales, use of signs and symbols, life dramas and face-to-face interpersonal media while the sources of information were extension agents, community leaders, fellow farmers, neighbours, livestock traders, and farmers` union. Most important information came from fellow farmers. Indigenous livestock farmers should be involved in research and extension planning and regular visits to farmers by village extension agents is recommended.

Self-Discovery through Otherness as Depicted in Folk Tales

The entire world of folk tales is an interrogation, a regeneration of reality. The cosmos becomes, through these tales, an inverted image, an upside-down perspective on our existence. Everything that surrounds us can be and will be brought into question. Our attempt is to emphasize the role of folk tales in asking questions, in leading to the knowledge of the world, of the Others, and of the Self. To see how that is achieved for the heroes of folk tales, we will discuss The Twelve Daughters of the Emperor and the Enchanted Palace, from Petre Ispirescu’s collection.

John Hunyadi in Hungarian Folklore and Historiography

The folk epic songs of a nation are often associated with heroic actions of famous historical figures of the given nation, whose names are often known beyond Balkan folklore, thus becoming characters of epic folk songs and tales preserved in South Slavic or Romanian folklore. The paper analyses Hungarian, Serbian, and Romanian folklore sources about John Hunyadi’s ethnic origin, with the intention to present the biography of this historical figure from the aspect of Hungarian historiography and his folklore heritage through the eyes of some Hungarian and Serbian folklorists. One of these emblematic heroes was certainly John Hunyadi, whose feats (as well as the feats of other members of the Hunyadi family) are told throughout the cycles of Hungarian epic folk tales, as well as the folk tales of the peoples in the surrounding area. This paper is based on the analysis of the collection of Hungarian historical folk tales by Dénes Lengyel, which contains a dozen texts about John Hunyadi. These texts have several points of contact with Romanian and Serbian history and folklore. The second part of the paper presents the biography of John Hunyadi in the light of Hungarian historiography as well as the discussion of his origins.

The Sound of Sirens: Siren Stelae in Classical Attic Cemeteries

<p>The aim of this thesis is to look at how and why the siren is featured in Classical Attic cemeteries and how its mythical characteristics lead to its appropriateness in such a context. The exact origins of the siren are unknown, although it has been suggested that they stem from the folk tales of sailors at sea, or shared ideas from other cultures. Despite such unknown variables, the siren figure that is considered in this thesis is that found in Greek mythology, frequently remembered for her encounter with Odysseus on his journey home from Troy and ability to enchant sailors with her irresistible song. Typically combining the features of a bird’s body and a woman’s head, the creature known as the siren can also be seen in ancient depictions on vases, jewellery boxes and female toilette objects. During the Classical Period (479-323BC) the bird-women hybrid sirens are used as a decorative feature on top of funerary stelae in Attic cemeteries. The siren can be seen in two different forms in the funerary context, specifically in relation to their placement and representation on stelae: relief images of the creatures in the roof sima of the upper register of the tombstone, and sculpted in the round perched on top. The presence of the siren in this context can provide a constant mourner as well as inviting the viewer to grieve for the deceased. The first chapter details the siren’s character and role in early ancient literature and art, specifically relating to their mythological corpus. Discussion will focus on the evolution of their character and their appearance over time, as well as identifying distinguishing features which make the siren a unique figure. It is also necessary in this section to establish a distinction between the siren and the mythological harpy who combines the similar bird-woman features to make up a very different creature (particularly evident in a commonly misnamed Lycian sarcophagus, the ‘Harpy tomb’.) The second chapter outlines the timeframe of the use and presence of funerary stelae featuring sirens in Attic cemeteries, predominantly found in the Kerameikos, with references to the legislation which may have affected them. This section covers examples of the presence of sirens in this context including, but not exclusive to, images in relief depicted in the roof sima, along with other figures, as well as the limited freestanding sculptures of sirens seen perched above stelae. I will also analyse the ‘traditional’ view of the sirens as ‘soul birds’ as suggested by various scholars, particularly those from the early 1900s. The final chapter looks at the appropriateness of the siren in a funerary context and attempts to identify the reasons why they were used for such a purpose. In order to answer these questions, it is important to look at the reception of these pieces by mourners and passers-by alike and the possible relationship between those that view the sculpture in such a setting and the piece itself.</p>

The Sound of Sirens: Siren Stelae in Classical Attic Cemeteries

<p>The aim of this thesis is to look at how and why the siren is featured in Classical Attic cemeteries and how its mythical characteristics lead to its appropriateness in such a context. The exact origins of the siren are unknown, although it has been suggested that they stem from the folk tales of sailors at sea, or shared ideas from other cultures. Despite such unknown variables, the siren figure that is considered in this thesis is that found in Greek mythology, frequently remembered for her encounter with Odysseus on his journey home from Troy and ability to enchant sailors with her irresistible song. Typically combining the features of a bird’s body and a woman’s head, the creature known as the siren can also be seen in ancient depictions on vases, jewellery boxes and female toilette objects. During the Classical Period (479-323BC) the bird-women hybrid sirens are used as a decorative feature on top of funerary stelae in Attic cemeteries. The siren can be seen in two different forms in the funerary context, specifically in relation to their placement and representation on stelae: relief images of the creatures in the roof sima of the upper register of the tombstone, and sculpted in the round perched on top. The presence of the siren in this context can provide a constant mourner as well as inviting the viewer to grieve for the deceased. The first chapter details the siren’s character and role in early ancient literature and art, specifically relating to their mythological corpus. Discussion will focus on the evolution of their character and their appearance over time, as well as identifying distinguishing features which make the siren a unique figure. It is also necessary in this section to establish a distinction between the siren and the mythological harpy who combines the similar bird-woman features to make up a very different creature (particularly evident in a commonly misnamed Lycian sarcophagus, the ‘Harpy tomb’.) The second chapter outlines the timeframe of the use and presence of funerary stelae featuring sirens in Attic cemeteries, predominantly found in the Kerameikos, with references to the legislation which may have affected them. This section covers examples of the presence of sirens in this context including, but not exclusive to, images in relief depicted in the roof sima, along with other figures, as well as the limited freestanding sculptures of sirens seen perched above stelae. I will also analyse the ‘traditional’ view of the sirens as ‘soul birds’ as suggested by various scholars, particularly those from the early 1900s. The final chapter looks at the appropriateness of the siren in a funerary context and attempts to identify the reasons why they were used for such a purpose. In order to answer these questions, it is important to look at the reception of these pieces by mourners and passers-by alike and the possible relationship between those that view the sculpture in such a setting and the piece itself.</p>

Put to the Test: The Folk-­Tale Motif of the "Test to Prove Worthiness" in Three of Shakespeare's Comedies

<p>Critics have recognised folk‐tales as being among the varied sources Shakespeare has mined for the plots of his plays. However, this recognition has often formed the basis of an argument which seeks to excuse what are perceived as flaws in Shakespeare’s plays, for example claiming that humanised characters jostle against their folk‐tale or popular culture archetypes, or that friction is generated when a folk‐tale plot is placed into a realistic setting. There has been little examination of Shakespeare’s relationship to his sources from folk‐tale, and so in this thesis I use the motif of the “test imposed to prove worthiness” (Stith Thompson’s Motif H900) as an example of the way Shakespeare develops, doubles and ultimately subverts these sources. I examine three comedies which employ this motif: The Taming of the Shrew, The Merchant of Venice and All’s Well That Ends Well. In the first play I argue that the testing of Katherina’s obedience rebounds to test Petruccio’s masculinity. In The Merchant, I argue that the casket test and doubled ring test play a crucial role in the development of Bassanio’s worthiness and loyalty, simultaneously casting doubt on Portia’s faithfulness. Finally, in relation to All’s Well, I argue that the test motif and by extension its folk‐tale sources are subverted so that the impossible tasks rebound not only on Bertram, but on the play as a whole, testing the genres of romance and realism. I find that testing cycles have a structural function as they fall between the couples’ weddings and consummations. Because of this placement, they are linked to private and public anxieties about sexuality and fidelity, in turn demonstrating their thematic function. The development, doubling and subversion of folk‐tales allow Shakespeare to explore ideas fully, often contrapuntally. Thus, my thesis seeks to address the gap in the critical studies by contending that Shakespeare makes innovative use of his folk‐tale sources. While ambiguity is certainly generated in each of the three plays, this is a deliberate effect rather than a flaw; no apology is required.</p>