CRITICIZING THE BUGIS ISLAMIC SCRIPT, PAU-PAU RIKADONNA I DARAMATASIA FROM SIRIQ NA PESSÉ PERSPECTIVE

Pau-Pau Rikadonna I Daramatasia (PRID) is a very popular story and has an important position in the lives of Bugis people in South Sulawesi as well as in other region. In the script form, the story has three versions: Bone, Barru, and Pangkep. Not only being written in script form, the story is also staged in short films, picture stories, dances, and others. This article aims to understand the meaning for the Bugis' collective awareness of PRID stories. To reveal the meaning, Bone version of PRID will be used with considering the whole story. Bone's PRID is also unique because it has some additions of episodes at the beginning and at the end of the story that become the focus of this article analysis. In understanding the meaning contained in the PRID, Levi Strauss's theory of structuralism will be used by building binary opposition to the depth structure of the text. Based on the analysis conducted, the addition of episodes contained in the PRID version of Bone is closely related to the cultural value of siriq na pesse (honor and solidarity) which is opposing sharia values. This can be interpreted as an effort by the Bugis to reconcile the two values so that PRID is well thanked and appreciated until now as can be seen in Youtube contents.

Recognition Memory for Pictorial Events: Fusion or Features

<p>This research investigated recognition memory for picture stories. Jenkins, Wald and Pittenger (1978) had found that when subjects viewed a slide sequence which depicted an every-day event, in a later recognition memory test they correctly rejected distractors which were inconsistent with the event but falsely accepted consistent distractors. Jenkins interpreted this result as evidence that fusion - the abstraction of visual events - determined memory performance. He argued that subjects compared the test slides to the abstracted event and accepted those which were consistent with the event. A series of experiments examined the possibility that performance was due not to fusion but to confusion with respect to the featural details of the stimulus material. This alternative interpretation argued that consistent slides had more features in common with acquisition slides than did the inconsistent slides and that the variables of semantic consistency and featural similarity had been confounded. The first experiment manipulated acquisition material and found that subjects who saw a disordered acquisition sequence falsely accepted consistent slides. The second experiment manipulated acquisition conditions and found that subjects who were inhibited from fusing the event by being required to perform a non-semantic task during acquisition falsely accepted consistent slides. Neither of these results supported a fusion interpretation since acceptance of consistent slides occurred under conditions where fusion of the event was not expected. The third experiment manipulated the test conditions and found that acceptance of both consistent and inconsistent slides was less likely with delayed tests although fusion of the event should have led to no change in the likelihood of accepting inconsistent slides. The fourth and fifth experiments re-examined the manipulation of presentation order and demonstrated that subjects were unable to reconstruct the event from a disordered sequence and yet still falsely accepted consistent slides. Each test of the fusion interpretation which had attempted to separate the variables of features and meaning indirectly had indicated that recognition performance was not due to abstraction of the visual event. A final experiment attempted to find explicit evidence for a featural interpretation of the results by directly varying featural similarity of consistent distractor slides to slides from the originally viewed sequence while keeping the degree of semantic consistency constant. Although this experiment failed to support a featural account, the converging evidence from all experiments indicated that recognition memory for picture stories is based to a large extent on the featural properties of the stimulus material. An account of performance solely in terms of visual abstraction is not adequate. Moreover, unless the variables of featural similarity and meaning can be separated directly in the test material, this recognition paradigm is unlikely to provide a means for examining the influence of schemata on recognition memory for picture stories.</p>

Recognition Memory for Pictorial Events: Fusion or Features

<p>This research investigated recognition memory for picture stories. Jenkins, Wald and Pittenger (1978) had found that when subjects viewed a slide sequence which depicted an every-day event, in a later recognition memory test they correctly rejected distractors which were inconsistent with the event but falsely accepted consistent distractors. Jenkins interpreted this result as evidence that fusion - the abstraction of visual events - determined memory performance. He argued that subjects compared the test slides to the abstracted event and accepted those which were consistent with the event. A series of experiments examined the possibility that performance was due not to fusion but to confusion with respect to the featural details of the stimulus material. This alternative interpretation argued that consistent slides had more features in common with acquisition slides than did the inconsistent slides and that the variables of semantic consistency and featural similarity had been confounded. The first experiment manipulated acquisition material and found that subjects who saw a disordered acquisition sequence falsely accepted consistent slides. The second experiment manipulated acquisition conditions and found that subjects who were inhibited from fusing the event by being required to perform a non-semantic task during acquisition falsely accepted consistent slides. Neither of these results supported a fusion interpretation since acceptance of consistent slides occurred under conditions where fusion of the event was not expected. The third experiment manipulated the test conditions and found that acceptance of both consistent and inconsistent slides was less likely with delayed tests although fusion of the event should have led to no change in the likelihood of accepting inconsistent slides. The fourth and fifth experiments re-examined the manipulation of presentation order and demonstrated that subjects were unable to reconstruct the event from a disordered sequence and yet still falsely accepted consistent slides. Each test of the fusion interpretation which had attempted to separate the variables of features and meaning indirectly had indicated that recognition performance was not due to abstraction of the visual event. A final experiment attempted to find explicit evidence for a featural interpretation of the results by directly varying featural similarity of consistent distractor slides to slides from the originally viewed sequence while keeping the degree of semantic consistency constant. Although this experiment failed to support a featural account, the converging evidence from all experiments indicated that recognition memory for picture stories is based to a large extent on the featural properties of the stimulus material. An account of performance solely in terms of visual abstraction is not adequate. Moreover, unless the variables of featural similarity and meaning can be separated directly in the test material, this recognition paradigm is unlikely to provide a means for examining the influence of schemata on recognition memory for picture stories.</p>

Pengembangan Buku Cerita Bergambar untuk Pembelajaran Berbicara Bahasa Arab Siswa Kelas VIII di MTsN 1 Kota Malang

The purpose of this research and development is to produce a product in the form of picture storybook for learning to speak Arabic for VIII grade students of MTsN 1 Malang and describe the feasibility of the product developed. This type of research is Research and Development using the model ADDIE (Analysis, Design, Development, Implementation, and Evaluation). The types of data for this research and development are quantitative data and qualitative data. While the collection techniques carried out were filling in questionnaires and interviews. The results of this research and development are in the form of a picture story book that contains three themes, namely as-saa’ah (hours), yaumiyyaatunaa (our daily activities), and al-hiwayah (hobbies). This book contains 75 pages consisting of 6 picture stories, 26 vocabularies, 7 tarkib, and 36 exercises. Based on the results of product validation by media experts, material experts, practitioners, and students of class VIII-G MTsN 1 Malang, this picture story book product is declared valid and feasible to use. Keywords: development, picture story book, speaking learning Arabic Abstrak: Tujuan penelitian pengembangan ini adalah menghasilkan produk berupa buku cerita bergambar untuk pembelajaran berbicara bahasa Arab siswa kelas VIII di MTsN 1 Kota Malang dan mendeskripsikan kelayakan produk hasil pengembangan. Jenis penelitian ini adalah penelitian pengembangan (Research and Development) dengan menggunakan model ADDIE (Analysis, Design, Development, Implementation, and Evaluation). Subjek uji coba dalam penelitian pengembangan ini adalah ahli media, ahli materi, praktisi, dan siswa kelas VIII G MTsN 1 Kota Malang. Jenis data penelitian pengembangan ini adalah data kuantitatif dan data kualitatif. Sedangkan teknik pengumpulan data yang dilakukan adalah pengisian angket dan wawancara. Hasil penelitian pengembangan ini berupa buku cerita bergambar yang memuat tiga tema yaitu as-saa’ah (jam), yaumiyyaatuna (kegiatan kita sehari-hari), dan al-hiwayah (hobi). Buku ini berisi 75 halaman yang terdiri dari 6 cerita bergambar, 26 kosa kata, 7 tarkib, dan 36 latihan. Berdasarkan hasil validasi produk oleh ahli media, ahli materi, praktisi, dan siswa kelas VIII G MTsN 1 Kota Malang, produk buku cerita bergambar ini dinyatakan valid dan layak digunakan. Kata kunci: pengembangan, buku cerita bergambar, pembelajaran berbicara bahasa Arab

Efforts to Increase Creativity in Early Children Through Picture Story Media

The condition of creativity in PGRI Margajaya Kindergarten, Mangunreja District is still low, children cannot concentrate through illustrated stories, children are not interested in listening to illustrated stories, plus teachers do not use learning media in order to attract the attention of students. High creativity encourages children to learn and work more so that one day they can create new things beyond our expectations. Storytelling has a positive impact on the development of creativity. Children are accustomed to concentrating on a topic, dare to develop their creations, organize themselves/self-confidence, stimulate children to think imaginatively, and increase their new vocabulary. To realize this desire, the authors carried out Classroom Action Research (CAR) which consisted of two cycles and in the process was assisted by the principal as well as a companion class teacher. The results of this study indicate that there is an increase in children's creativity through picture stories, namely pre-cycle creativity by 20%, increasing creativity in cycle I by 45% and increasing creativity in cycle II reaching 85%. Based on the results of the study, it can be concluded that illustrated stories can increase the creativity of children's work in PGRI Margajaya Kindergarten, Mangunreja District.

MENINGKATKAN KREATIVITAS ANAK USIA DINI MELALUI BUKU CERITA BERGAMBAR DI TAMAN KANAK-KANAK PEMBINA INDRALAYA

Early childhood education is held for children from birth to six years and is not a requirement to attend basic education. This study aims to determine whether children's creativity can be increased by using the picture story method. This study uses the type of CAR. Techniques to obtain data in this study are through observation, interviews and documentation. The data in this study were analyzed by descriptive qualitative flow model. This study shows that there is an increase in children's creativity using the picture story method, namely in Group B Kindergarten Pembina in pre-cycle showing 40%, creativity in the first cycle by 66.6% and increasing creativity in the second cycle reaching 86.6%. Supporting factors in increasing children's creativity using the picture story method have several indicators, namely creative reactions, children's attention, confidence in children, development of children's imagination, and increasing new vocabulary. The conclusion of this research is that students' creativity can be increased by using the storytelling method with visuals. This method can increase the creativity of students and is highly recommended to Kindergarten so that this method should be used once a week, once every 2 weeks or even once a month, because this method stimulates children to listen and respond spontaneously to what the teacher is telling.Keywords: Creativity, Early Childhood, Picture Stories.

Accessing Young Children’s Ideas about Energy

We present a multi-method design for elucidating young, mostly illiterate children’s (grades 1 and 2 of Swiss elementary school, ages 6–8) ideas about energy. The design uses semi-structured interviews and video recordings as the main methods of data generation and collection, respectively. A plurality of tasks, including drawing, sorting and a newly developed picture stories task, target core aspects of the scientific energy concept in selected contexts. These tasks provide various opportunities for the children to connect to their prior experiences and express ideas verbally and non-verbally in age-adequate ways, e.g., by gestures or drawings. We illustrate the level of detail and complexity of the children’s responses and show how these reflect the children’s associations with energy and their patterns of argumentation. These rich data enable analysis regarding various aspects of the scientific energy concept, including sources, users, forms, and the transfer of energy, and the identification of possible starting points for early energy instruction.

Picture Stories, 1840-1860, or Problems with Photographs

“Picture” stories, a whole genre of short fiction denoted by the central role of a picture, were common in the middle decades of the nineteenth century, from the 1840s to the 1860s. They featured in periodicals publishing fiction aimed towards middle- and lower-class readers, such as Ainsworth’s Magazine, Chamber’s Edinburgh Journal, Bentley’s Miscellany, and Sharpe’s London Magazine of Entertainment and Instruction for General Reading. Titles usually made the genre obvious: e.g. “The Story of a Picture” (1842), “The Fatal Picture” (Elder 1843), “The Adventures of a Picture” (Medwin 1843), “The Unfinished Picture: A Reverie” (Kenney 1845), “The Lost Picture” (1853), “The Unowned Picture” (1856), and “Memoirs of an Old Picture” (1859). Many of the “pictures” in these stories of the 1840s, 1850s, and 1860s are paintings, but not all. Picture stories about photographs often worked in radically different ways from those stories about paintings, with photographs posing a new set of problems for viewers. This essay is about how writers of picture stories explored those problems, and aims to uncover how and why paintings and photographs work differently within this genre of short fiction.