Tuesday, October 24, 2017

Creating materials: the link between syllabus and audience



CHAPTER I
 INTRODUCTION

This chapter presents background of Creating materials: the link between syllabus and audience. The purpose of it tells about the purpose of Creating materials: the link between syllabus and audience.
1.1. Background of Translation
Creating materials through which people can effectively learn new languages is a highly specialized craft, one that  seems to be perfected through immersion in the activity itself. Since the prospect of sink or swim ca discourage potential talent,more attention needs to be paid to developing guidelines for writers. This chapter looks at writing in various ways: in section 9.1 The audience for materials, by contrasting writing for local or wider audiences, a difference often but not always marked by the separate worlds of producing non-commercial materials as opposed to commercial textbooks. In section 9.2, we differentiate between projects which are ‘commissioned’ and ‘self-initiated’. In both, however, there is writing as a team effort, the issue discussed in section 9.3. finally, section 9.4 A checklist for writers is preparation for launching a materials writing project,or what to consider at the first meeting of a writing team.

CHAPTER II
CONTENT
2. Creating materials: the link between syllabus and audience
2.1 the audience for materials
To a certain extent, witing for a local or a wider audience coincides with the difference between non-commercial and commercially-sponsored projects. For writers, however, it is more productive to focus on the audienc. That is why the terms ‘local’ and ‘wider’ are valuable. There are times when a commercial firm might be asked to produce materials for a local audience, for a particular school, a particular system, a ministry, or even for an entire country. Usually, non commercial materials are aimed at a more specified, local audience. Commercial materials are for as wide an audience.
2.1.1 Writing for a local audience
When they create for a local audience, the writers should be familiar with the needs of the learners, their age, level of profiency, degree of motivation, cultural learning styles, etc. however, knowing the audience well does not mean that writers can overlook, at an early stage, defining the scope of the project in terms of combining or emphasizing language skills, language contet, and the processes in which skils and content are used. Sometimes, after a year or two of working with tightly controlled materials, the teachers feel too bound. For this reason, writers who deal with a local audience often find they must walk a tightrope. There are other problematic aspects as wwell with local audiences. Granted, the writers can select situations knowing whether or not learners possess the required background knowledge to understand them.
2.1.2 Writing for a wider audience
Although in writing for a wider audience it is much more difficult to take learners’ characteristics into account, one difference that cannot be ignored is age. Children are not the same as adult learners. A more subtle age division is the one between children and adolescents. But the most important factor in writing for a wider audience is not knowing the curriculum or syllabus, let alone the objectives of the audience. At times even educational goals are ill defined. One way is by giving enough practice material so that teachers are free to select what fits a particular group.
2.1.3 Issues common to both audience
Other issues of taste, sensitivity and attention to details are common to writing for both audiences, local and wide. To the eye, in terms of spelling, the two names look very much the same since they both begin and end with the same letter. One tends to overlook issues like these in choosing the elements that go into materials writing. Yet, the difficulties presented by small, culturally bound elements in language are quite crucial in writing for both audiences.
2.2 Commissioned and self-initiated projects
Basically, writing projects are either commissioned by others or they are self-initiated by the writers themselves.
2.2.1 Commissioned projects
The publisher or initiating authority may have set up a quality contrl person who follows the project from beginning to end, giving progress reports while the work is going on. The quality control person, most likely called an editor, is the project’s coordinator, acting as liaison between writers and the commissioning authority. Thus, the writers feel that they never get far enough out of the forest to see the trees..it may turn out, too, that a writing team for a commissioned project is made up of people from various backgrounds who have never worked together before.
2.2.2 Self-initiated projects
Self-initiated projects usually start when an individual or a few teachers who have been successful in producing materials for their own immediate classroom needs decide that their ‘great idea’ deserves to be shared with the rest of the world. It is certainly tru that a worthwhile textbook requires insight from teaching, but it also requires craftsmanship from writers. What is frequently necessary is for the teachers/writers to put aside their successful classroom materials and to think about the specialized requrements of a textbook. A key factor in transforming either classroom materials into a publishable manuscript or transposing one’s own ‘great idea’ into a book depends on having a grasp of the marketplace for textbooks. It is often up to the writers to assess the field; the publisher, with all good intentions, is not in a position to keep up with trends in language teaching along with a number of other subject areas in his/her educational catalog. By getting to know the types of educational materials and texts which particular publishers produce, an author with aspirations to be published can make better decisions regarding which editors or publishers to approach with sample ideas and lessons.
2.2.3 I hve an idea…
In most cases, your sample lessons and rationale will be sent to reviewers for appraisal, a process that can stretch over a few months at least. In other words, the publisher will rely heavily on the comments which seasoned professionals (who usually receive a small fee fom the publisher for their service report back. These reviewers’ comments may well contain useful suggestions that will guide you in further shaping of the work.


2.3 Writing as a team effort
Because of the variety of tasks which must be performed togetherith the advisabilityof bringing in various skills, talents, andpointsfviewwritingis frequently ateamfftor a co-authored veture.
2.3.1 An idealized team
It goes without saying that all members of a materials writing team will have professional qualifications for the assignment .in an effective team at least, members complement each other. A successful materials producting team is composed of personalities who have learned to compensate for individual weaknesses by using each other’s strengths. In fact, a strong team needs divergent personality types so that there is ample opportunity for a flow of ideas. For example, a team needs an organizer, someone who tactfully lays out the tasks which need to be accomplished. The team needs an idea person, the one who has flair and imagination. A good team should have an experimenter, as well as an evaluator. Those who have worked with teams report that inevitably there is a big talker’ as well as a persuader, the one who can argue strongly for a particular decision. Effective committees as well as teams operate through democratic processes. But anyone who has worked on a committee knows there must be one person at the head. Someone must be selected to make the final decisions. That individual needs to be sensitive to others yet wise enough to know how and when to maneuver so that everyone’s abilities are utilized.
2.3.2 Other team models
There is also team writing which follows an authoritarian format. One person, totally responsible for conceptualization and design, assigns the tasks. Since the work is highly structured, it is apt to be completed more punctually.
2.4 A Checklist for writers
The decision-making characteristic of materials writing is most apparent during the early stages of a project. To avoid unnecessary re-writing at later periods, many basic problems should be settled early.






CHAPTER III

Conclusion
              In this chapter  entitledCreating materials: the link between syllabus and audience, the author defined the things that is in creating materials. The part of this chapter had been created by the author is very interesting because it explains about analyzing the thingshappened in creating materials.In the other hand, the things happened in creating materials can be used through discussion, study and debate because many questions in the chapter that refer to our insight as a student, giving our opinion to finish the case. This chapter gives us how to finish the case involved in creating materialsand prompts us to give response about the case.
            The chapter is very good for students who study reading and understanding about the creating materials.The writer feels that in the resultis still many faults.
4.2 Suggestion
Based on the result and also the conclusion, the writer has some suggestions as follows:
1)      The readers can use thisresult as reference and understand about creating materials.
2)      People are studying in English Educationcan apply this materials.





Friday, October 20, 2017

Potensi Pariwisata di Kabupaten Bandung, khususnya kecamatan cangkuang



Potensi pariwisata di kecamatan Cangkuang

Cangkuang adalah salah satu dari kecamatan-kecamatan yang ada di kabupaten Bandung. Kecamatan Cangkuang memiliki tujuh desa diantaranya desa Ciluncat, Pananjung, Tanjungsari, Bandasari, Cangkuang, Jatisari, dan Nagrak.Cangkuang termasuk kecamatan yang memiliki banyak tempat rekreasi gratis, atraksi budaya,usaha perikanan air tawar, pertanian, dan tempat produksi usaha masyarakat. Hal tersebut menjadi andalan yang patut dijadikan satu tujuan wisata di kabupaten Bandung. Pengembangan industri pariwisata di wilayah Cangkuang mempunyai masa depan yang cerah, mengingat banyak potensi objek wisata alam, usaha perikanan air tawar, pertanian, tempat produksi usaha masyarakat, dan budaya yang pantas dijual di pasaran lokal maupun internasional. Untuk bisa menuju kecamatan Cangkuang bisa ditempuh satu jam setengah dari pusat kota Bandung. Untuk masuk ke wilayah Cangkuang, akses jalan sudah memadai dan bisa digunakan oleh kendaraan bermotor. Di kawasan Cangkuang terdapat tempat rekreasi yaitu bukit Panyaungan yang berada di perbatasan desa Nagrak dan desa Jatisari. Bukit ini bisa menjadi tempat relaksasi dengan biaya yang cukup murah.Tempat ini bisa ditempuh melalui  rute yang paling mudah bisa melalui jalan Banjaran-Kamasan . Di tempat ini terdapat saung untuk bersantai. Warga desa Nagrak selain memiliki usaha pertanian juga memiliki beragam kegiatan usaha .Selain menyediakan tempat rekreasi dan tempat perbelanjaan, masyarakat di kecamatan Cangkuang menyuguhkan atraksi budaya yaitu budaya kuda lumping yang sering diadakan ketika ada hajatan, sunatan, dan lain sebagainya. Masyarakat Cangkuang sering mengadakan atraksi budaya kuda lumping di sekitaran jalanten jolaya-Ciluncat, di jalan tersebut banyak masyarakat tumpah ruah untuk menyaksikan atraksi budaya tersebut meskipun sedikit menimbulkan kemacetan. Untuk dapat menarik perhatian wisatawan untuk mengunjungi kecamatan Cangkuang diperlukan peran serta dari semua pihak, baik itu pemerintah, generasi muda, masyarakat, pengusaha (pelaku industri pariwisata). Kita harus bersaing dengan teknologi. Memanfaatkan teknologi sebagai suatu kesempatan. Kita harus memanfaatkan hal-hal positif dari adanya globalisasi. Dalam Permenpan Nomor 83 tahun 2012 tentang pedoman Pemanfaatan Media Sosial Instansi Pemerintah menyatakan bahwa, penggunaan media social telah membentuk dan mendukung cara baru dalam berkomunikasi, berinteraksi, dan berkolaborasi. Caranya, kita bisa memanfaatkan sarana media sosial dalam mempromosikan tempat rekreasi, kebudayaan, dan tempat perbelanjaan di wilayah ini karena kebanyakan lapisan masyarakat Indonesia banyak meghabiskan waktu dengan membuka media sosial seperti facebook, twitter, instagram, BBM (Black Berry Messenger), youtube, whatsapp dan line. Promosi melalui media sosial bisa dalam bentuk pembuatan konten-konten yang menarik dan meng-upload gambar ke ranah dunia maya. Promosi melalui media sosial secara online jauh lebih luas ketimbang promosi wisata secara konvensional. Promosi ini lebih efektif dan tidak menelan biaya besar.
Jelas sekali bahwa smart people harus lebih unggul dari smartphone, khususnya bagi semua pihak, baik itu pemerintah, generasi muda, masyarakat, dan pengusaha (pelaku industri pariwisata) harus bisa memanfaatkan arus globalisasi ini menjadi hal yang positif. Kita bisa mempromosikan daerah Cankuang melalui pemanfaatan smartphone/handphone,  menggiatkan penggunaan media sosial.

Thursday, September 28, 2017

Pelajaran Bahasa Arab Dasar




Noun:
1. Nominative (subjek) : malikun contoh: yadrusu malikun lughotan.
2. Accusative (objek): lughotan
Contoh: yadrosu malikun lughotan
3. Genitive : baytin. Contoh: babu l-bayti.
(1). Verb of wonder
Maa ajmala l-binta= how beautiful the girl is!
(2) adverb contoh : "qaliilan"dalam kalimat aquulu al lughota l-arabiya qalilan.

CONTOH penerjemahan pada konteks sejarah



“Hurrah for Anarchy!” said Fischer, his voice ringing out strong and clear.
“Horay untuk anarki!” kata Fischer, ucapannya berbunyi dengan kerasnya.
“Hurrah for Anarchy!” echoed Engel still more loudly.
“Horay untuk anarki!”, ucap Engel dengan sangat keras.
There was a second’s pause. The four Anarchists were completely concealed in their shrouds and hoods. A Deputy Sheriff was tying the last fastening in Parson’s shroud; the others were ready.
Ada jeda waktu beberapa detik. Empat orang anarkhis tersembunyi dalam kejahatan. Wakil kepala polisi sedang mengikatkan jubbah Parson; yang lainnya sudah siap juga.
“This is the happiest moment of my life!” exclaimed Fischer.
“Ini merupakan momen yang paling menyenangkan dalam hidup saya!” seru Fischer.
Then Parson’s voice was heard. His voice was firm and strong. “Shall I be allowed to speak?” he said. “O, men of America—“
Kemudian ucapan keras Parson terdengar. “Akankah saya diijinkan untuk bicara?” kata dia. “Hai, orang-orang Amerika---“
The Deputy Sheriff behind Parsons stepped back, leaving the trap clear. The movement interrupted what Parsons was about to say.
Wakil kepala polisi yang ada di belakang Parson mundur, membiarkan perangkap tersebut. Gerak-geriknya mengganggu apa yang akan diucapkan Parson.
“Let me speak, Sheriff Matson,” he said loudly and firmly, and in tones half appealing and half interrogative. Then, his voice rising still higher as though beginning an emphatic speech: “Let the voice people be heard—“
“Biarkan saya berbicara, Sheriff Matson,” ucap dia dengan keras, dan isi ucapanya sedikit memohon dan bertanya. Lalu, ucapannya menjadi lebih keras seolah-olah sedang berpidato: “Biarkan ucapan orang-orang tersebut terdengar---“
The drop fell. It seemed as though Parson’s last word was cut in two by the downward plunge of trap on which he and his companions stood. The four bodies swung in the air. Ten minutes later the doctors formally pronounced life extinct. . . .
Kemerosotan. Terlihat seolah-olah kata-kata terakhir Parson terbagi dua oleh loncatan jebakan ke bawah yang diperjuangkan oleh dia bersama kerabatnya. Empat mayat tersebut terombang-ambing dalam air. Sepuluh menit kemudian, para dokter mengatakan bahwa mereka telah tewas.

contoh penerjemahan teks sejarah, konteks lama



Chapter 5
The Chicago
Haymarket Riot of 1886
Source Language (SL)
Target Language (TL)
The Date: November 11, 1887
Tanggal: 11 November 1887
The Place: The gallows of Cook County Jail, Chicago, Illinois
Tempat: Tiang hukuman gantung Penjara di kawasan Cook, Chicago, Illinois
The scene: Four men have just been hung by the neck until dead.
Perihal: Empat orang pria dihukum gantung.
August Spies, Albert R. Parsons, George Engel, and Adolph Fischer were hanged on the gallows in Cook County Jail. . . . They met death bravely and fearlessly; they were defiant to the end; as Infidels and Anarchists they died. . . . There were no speeches from gallows; the Sheriff would not permit speechmaking. The few remarks made were made during the last twenty seconds of the final preparations—the twenty seconds preceding the springing of the trap.
August Spies, Albert R. Parsons, George Engel, dan Adolph Fischer dihukum gantung di penjara kawasan Cook. . . . Mereka berani dan tidak takut mati; mereka menentang kematian; sebagai orang-orang yang kafir dan anarkis, akhirnya mereka meninggal. Tidak ada ucapan terakhir sebelum mereka dihukum gantung; kepala polisi tidak mengijinkan pidato. Sebagian kata diucapkan selama persiapan akhir yang keduapuluh dua—yang keduapuluh duamendahului---
“Our silence,” said Spies, his voice muffled with the hood drawn over his head and his tones somewhat timid and hard to hear, “our silence will be more powerful than the voices they are going to strangle today.”
“Diamnya kami,” kata Spies, ucapannya bersama penjahat tersebut mereda--, dan ucapannya seperti ketakutan, “diamnya kami akan menjadi lebih kuat daripada ucapan yang dilontarkan hari ini.”

Persamaan Bahasa Arab dengan Bahasa Indonesia

Persamaan Bahasa Arab dengan Bahasa Indonesia           Banyak dari kosakata bahasa Indonesia yang merupakan hasil serapan dari...