Konstruksi Kalimat Imperatif Ajakan Dalam Bahasa Jepang Dan Bahasa Indonesia

Imperative sentences are sentences that contain imperative intonation and generally contain the meaning of commands or prohibitions; in writing is marked by (.) and (!). The construction of imperative sentences of invitation in Japanese and Indonesian is done by using a constructive research. Contrastive research prioritizes concrete facts regarding the search for differences one by one which has the specificity of language so that it is more inclined towards differences. This study aims to describe the construction of imperative sentences of invitation in Japanese and Indonesian. The approach taken in this study uses a qualitative descriptive approach using the referential method. The data collection in this study used the deep listening method related to the use of written language, because the data in the form of invitation as a modality were taken from written data sources in the form of novels. The written data obtained by the read method was captured by a note-taking technique by being recorded on a data card. The data in the form of sentences containing imperatives, both in terms of structure and markers and their contents are classified into several types of imperative sentences. Furthermore, the basic analysis technique used is a technique for direct elements, namely dividing the elements in the form of imperative sentences. The results showed that the construction of the imperative form of solicitation sentences in Japanese consisted of the invitation form shiyou with the construction variants 'affirmative form of desire verb -masu + shiyou' and 'isshoni + affirmative form of desire verb -masu + shiyou'; shiyouka invitation form with the construction of 'isshoni + affirmative form of desire verb –masu + shiyou ka'; and, the form of shinaika's invitation with construction variants 'Interrogative form + Shinaika' and 'Particle mo + KK wishes in the form of a dictionary + Interrogative form + Shinaika'. On the other hand, in Indonesian, the construction of the imperative form of an invitation sentence in Indonesian consists of the form of an invitation form ‘Mari’ with the construction variants of 'Mari + active verb' and 'Mari + causative verb'; the form of ‘Marilah’ with the construction of 'Marilah + Active Verb'; the form of an invitation ‘Ayo’ with the construction variants of 'Ayo + Active Verb' and 'Ayo + Causative Verb'; and, form ‘Ayolah’ with the construction 'Ayolah + Active verb'.

Understanding cultural artefacts to ensure seamless transitions in the Early Years

For Aboriginal and Torres Strait Islander Jarjums (children), the cultural and world views they bring from their home life can be very different to those in school, creating an additional layer of adjustments in the Early Years pathway. We describe an Early Years Transitions Framework that demonstrates how changing transition from a process to move Jarjums as quickly as possible into a Western system to one that acknowledges the beliefs and cultural artefacts Jarjums bring to the Early Years space builds smoother transitions. The Framework is underlain by a mesh of High-Expectations Relationships, which moves the educator from the position of ‘knowledge holder’ to one of deep listening to understand the cultural needs and aspirations of families. By bringing these different world views together and building relationships across the Early Years sectors, educators can create a third cultural space where transition becomes a process of interwoven spaces and incremental learning.

Managing the Emotional Intensities of Gifted Students with Mindfulness Practices

The emotional intensities of gifted students affect not only their learning, but also the way they live and see the world. This article examines the Theory of Positive Disintegration of Dabrowski to explore the inner world of the gifted. The five levels of development and five overexcitabilities of Dabrowski represent an abundance of physical, sensual, creative, intellectual, and emotional energy that cause inner turmoil but can result in creative endeavors. The benefits of mindfulness practices to meeting the emotional needs of gifted students are presented with examples of deep listening, gratitude, and storytelling as mindfulness practices. A culminating activity of storytelling illustrates the integration of deep listening and gratitude and its effect on the sense of identity of gifted students.

Introduction

Introduces the outlines of Zaynab Fawwaz’s biography and published oeuvre, in the context of the nineteenth-century Arab/ic Nahda, or knowledge movement, and the centrality of questions of gender to that series of initiatives. Considers her distinct approach to questions of gender and society by setting out a feminist analytic that distinguishes ameliorative gender activism from critique of gender as a system of hierarchical social relations based on sex-gender differentiation and instituting and maintaining patriarchal and masculinist authority over females and the young. Suggests how debates on gender in 1890s Egypt were entangled with debates across the world, and how Arabophone intellectuals used certain keywords and conceptual categories to join debate, and describes communities of discourse, or senses of audience, that animated Fawwaz. Attention to audience and terminology, and to the rhetorical uses of affect, are aspects of a methodology of deep listening which requires close attention to not only Fawwaz’s writings, but those with which they were in dialogue.

Sound Art: Hearing in Particular

Extoling and promoting listening is deeply ingrained in sound art practice and discourse, even on occasion its raison d’être, where listening is understood as a wholly congenial, benign activity. This can be seen through the routine use of affirmative tropes such as, through listening we: connect, locate, are embodied, discern, are immersed or enveloped. And through specific listening methods such as Deep Listening, we are offered ‘expand[ed] consciousness to the whole space/time continuum of sound/silences’ (Oliveros, 2005, p. xxiv). Refocusing from the act of listening to the audiological—the mechanisms related to the sense of hearing—from the findings of the author’s recent research, in particular his review on the noise impact of high-speed hand dryers (Drever, 2013), the author feels obliged to assert that the contrary is a reality for many—hearing, from time to time or incessantly: perturbs, isolates, excludes, disconnects, disembodies, and dislocates, hearing hurts! This will be familiar for those living with hyperacusis, misophonia, and phonophobia, but it can also be the case for those with particular hearing needs such as the partially sighted, hearing aid users or those with sensitive hearing such as infants and ASD. Bringing audiology into the sphere of sound art, this chapter recognizes a prevailing sensitization of hearing in the culture at large, and proposes a paradigm for situating hearing that diverges from a singular, idealized, symmetrical model of hearing, the auraltypical, that has predominated. In its place, we are beginning to enjoy a fluidity and openness to diverse forms of hearing and sensitive hearers in sound art, on embracing the emerging agenda of auraldiversity.

Sonic Sentimentality and the Unification of the Listening Space: Exploring the intersections of oral history and sonic art

This article aims to explore how the theoretical and pedagogical intersections of sonic art and creative oral history may work together to enhance the public response of socially engaged, interdisciplinary artwork. The main topics of discussion will include Panos Amelides’s paper ‘Acousmatic Storytelling’, the socio theoretical approach suggested by Salome Voegelin in her paper ‘Sonic Memory Material as “Pathetic Trigger”’, the behavioral study from the oral history sound installation by Dr Luis Sotelo Castro called Not Being Able to Speak is Torture, and the Deep Listening and Sonic Meditation practices and teachings of Pauline Oliveros, as well as compositions by Yves Daoust, Hildegard Westerkamp and Trevor Wishart. One consistent theme revealed through these investigations was that socially engaged, aurally focused artwork informed and woven by familiar and documented ‘life’ sounds or nostalgic sound events increases emotional triggers for the audience, creating a deeper engagement with the art piece or performance. Furthermore, an informed and host-led directive encouraging participatory and attentive listening through either meditation or discussion increases audience reception and takeaway, thus inspiring and unifying mass group empathy. This article suggests that the application of these techniques by electroacoustic composers, sonic artists, oral historians and interdisciplinary artists will create informed, passionate and empathetic listening spaces that live beyond the insular, creative experience itself.

COVID times make ‘deep listening’ explicit: changing the space between interviewer and participant

This article draws on the research project Post-abortion narratives shared by Perth women via face-to-face interviews. The project was subsequently disrupted by the arrival of COVID-19 in Perth, Australia, making it necessary to conduct interviews via video call. The experience of using an online platform to conduct interviews became an opportunity to consider more carefully the practice of ‘deep listening’. This kind of listening involves creating an emotional connection with the participant so that the interviewer is able to hear multiple layers of meaning and context. It includes listening mixed with perception in which one can hear the emotions of the other. In a paradigm where the interview is seen as an interaction between two embodied individuals and the interviewer herself is the instrument of research, this article examines the communication that occurs in the space between two co-present, embodied individuals and explicates the practice of deep listening. While interviewing via video call is an excellent tool, I argue that a layer of meaning is removed by the technological medium, which impacts the researcher relationship and thus the ability to listen deeply.

Football and the sounds of the Black Atlantic

This article maps and analyses the relationship between football and black sound cultures in the UK. Employing a chronological and thematic approach, specifically, it examines the inclusion of football in post-Windrush calypsos, the appropriation of black music forms in football stadia, reggae as cultural critique of English football and British society, and the connections between transnational sounds and a diasporic footballing consciousness. Theoretically, this article draws on – and places in dialogue – Paul Gilroy’s concept of the ‘Black Atlantic’, Josh Kun’s notion of ‘audiotopia’ and Les Back’s emphasis on ‘deep listening’. This framing illuminates how music forms travel back and forth along diasporic roots and routes between Africa, the Caribbean, the United States and the United Kingdom. Critically, the article locates the relationship between football, music and race as providing the context and capacity for progressive change, and foregrounds its role as an important medium and method of cultural resistance to the marginalisations experienced by Black Atlantic diasporas and within football itself. The article concludes by looking forward, in an era of Black Lives Matter, to consider the spaces and practices of fandom and consumption that might open up as a result of listening and responding sociologically to the relationship between football and black sound cultures.