“An Infinite and Endless Liar”: Paroles as a Case Study of the Pragmatics of Lying in Shakespeare

Abstract: Functional Language in the Indonesian National Police. A Study: Semantics. The purpose of this research is to (1) analyze the forms of functional language in the Indonesian National Police. (2) Analyzing Functional Language Function in the Police of the Republic of Indonesia. (3) Analyzing the Meaning of Functional Language in the Police of the Republic of Indonesia. The Approach Used In This Research Is Qualitative Research. The Method Used Is The Method To Listen, Record And Note. Listening and Recording Research Objects Are Done By Listening To The Language Used In The Police, In Other Words The Listening Method Using A Recorder. When observing written data, what the research does is read the entire contents of the required data repeatedly and then records the form, meaning and function of functional language. The technique of collecting data in this study is a note taking technique. Data Analysis Techniques In This Research Is To Identify, Classify, Analyze, Determine, Describe And Summarize The Form, Meaning And Function Of Functional Language In The Police Of The Republic Of Indonesia. Sources of data in this study are functional languages in the Indonesian National Police. Based on the research conducted by the author, it can be concluded that there are 2 forms of language in the functional language of the Police, namely the form of words and phrases. Word Form Consists Of 15 Data And Phrase Form Consists Of 71 Data. The meaning contained in the functional language of the police is the meaning of orders or directions in the functional language of the police. This Meaning is Analyzed Using the Meanings of the Terms in the Police Functional Language. Language Functions Available in Police Functional Languages , namely, MetalingualFunctions , Directive,FunctionsFunctions Interpersonal (Progmatics), andFunctions Referential.Keywords: Police Functional Language, Semantics Abstrak: Bahasa Fungsional di Kepolisian Republik Indonesia. Sebuah Kajian : Semantik. Tujuan Penelitian Ini Adalah Untuk (1) Menganalisis Bentuk-Bentuk Bahasa Fungsional Di Kepolisian Republik Indonesia. (2) Menganalisis Fungsi Bahasa Fungsional Di Kepolisian Republik Indonesia. (3) Menganalisis Makna Yang Terdapat Pada Bahasa Fungsional Di Kepolisian Republik Indonesia. Pendekatan Yang Dipakai Dalam Penelitian Ini Adalah Penelitian Kualitatif. Metode Yang Digunakan Adalah Metode Simak, Rekam Dan Catat. Menyimak Dan Merekam Objek Penelitian Dilakukan Dengan Menyimak Bahasa Yang Dipakai Di Kepolisian, Dengan Kata Lain Metode Simak Rekam Menggunakan Alat Perekam. Saat Mengamati Data Tertulis, Yang Dilakukan Oleh Penelitian Adalah Membaca Keseluruhan Isi Data Yang Diperlukan Secara Berulangulang Kemudian Mencatat Bentuk, Makna Dan Fungsi Bahasa Fungsional. Teknik Pengumpulan Data Dalam Penelitian Ini Adalah Teknik Catat. Teknik Analisis Data Dalam Penelitian Ini Adalah Mengidentifikasi, Mengklasifikasi, Menganalisis, Menentukan, Memaparkan Dan Menyimpulkan Bentuk, Makna Dan Fungsi Bahasa Fungsional Di Kepolisian Republik Indonesia. Sumber Data Pada Penelitian Ini Adalah Bahasa Fungsional Di Kepolisian Republik Indonesia. Berdasarkan Penelitian Yang Dilakukan Oleh Penulis Dapat Disimpulkan Bahwa Bentuk Bahasa Yang Terdapat Dalam Bahasa Fungsional Kepolisian Ada 2 Bentuk Yaitu Bentuk Kata Dan Bentuk Frasa. Bentuk Kata Terdiri Dari 15 Data Dan Bentuk Frasa Terdiri Dari 71 Data. Adapun Makna Yang Terdapat Dalam Bahasa Fungsional Kepolisian Adalah Berupa Makna Pada Perintah Atau Arahan Dalam Bahasa Fungsional Kepolisian. Makna Ini Dianalisis Menggunakan Makna Istilah Yang Terdapat Dalam Bahasa Fungsional Kepolisian. Fungsi Bahasa Yang Terdapat Pada Bahasa Fungsional Kepolisian Yaitu, Fungsi Metalingual, Fungsi Direktif, Fungsi Interpersonal (Progmatik), Dan Fungsi Referensial.Kata Kunci: Bahasa Fungsional Kepolisian, Semantik

Teaching Baihua: Textbook Publishing and the Production of Vernacular Language and a New Literary Canon in Early Twentieth-Century China Robert Culp (bio) It is hereby decided that starting in the fall of this year, all first- and second-year classes in lower primary schools (literally “citizens’ schools [國民學校 guomin xuexiao]”) should change first from using standard written Chinese (國文 guowen)1 to the written vernacular (語體文 yutiwen) in hopes of obtaining the results of integrating the spoken and written languages. —Ministry of Education decree, 12 January 19202 The Ministry of Education’s 1920 declarations calling for introduction of vernacular language textbooks at the primary level are often cited as a threshold moment in the movement for vernacular language.3 In fact, educators and publishers responded to [End Page 4] this decree with rapid publication of full sets of primary and secondary textbooks in a range of disciplines that used the syntax, styles, and lexicon of China’s emergent vernacular language. These textbooks, as we will see, contributed significantly to the spread and standardization of the written vernacular (白話 baihua). However, the project of creating and teaching China’s modern vernacular was more extended and decentralized than this state-centered account suggests, and textbooks played varied roles at different stages of this complex process. In this article I explore three distinct ways in which primary and secondary textbooks contributed to the production and spread of baihua. First, I build on the impressive existing literature on lexical change in the nineteenth century to establish that between 1900 and 1920—that is, during the twenty years before the Ministry of Education’s pronouncement on the language of textbooks—textbook publishing helped to consolidate the modern vernacular vocabulary. 4 Popular readers and content textbooks of the 1900s and 1910s introduced and defined many of the elements of the compound modern vocabulary of loan words and return loan words from Japanese and European languages that became fundamental elements of China’s modern vernacular. Second, I demonstrate that textbooks produced by the main commercial publishers during the 1920s and 1930s came to incorporate and spread to two generations of primary and secondary students New Culture forms of vernacular language. Because of the size of the national student body in comparison with other reading communities, incorporation of modern baihua into textbooks was a decisive step in making it a vernacular national language (國語 guoyu). New Culture movement-inspired baihua can be seen as a hybrid product that integrated late imperial styles of vernacular writing with ongoing lexical changes influenced by Europe and Japan and also stylistic and grammatical approaches based on both spoken language and European and Japanese models.5 During the 1920s and 1930s, when this language was still under construction, textbooks, which were variously written by publishers’ editorial staff, educators, and intellectuals, played a vital role in defining and disseminating baihua by providing large numbers of students with approved models of vernacular prose writing. In a preliminary effort to characterize these models, I differentiate between two registers of vernacular writing that textbooks offered students: colloquial baihua, which was based primarily on [End Page 5] conventions of everyday speech; and professionalized baihua, which followed highly Europeanized, academic patterns of vocabulary and style. Third, collection of vernacular fiction, poetry, and expository prose in secondary- level national language textbooks of the 1920s and 1930s contributed to marking certain authors and works as models of modern Chinese literature. As May Fourth intellectuals, such as Hu Shi (胡適 1891–1962) and Ye Shengtao (葉聖陶 1894–1988), drafted curricula or signed on with commercial publishers to compile vernacular language readers for secondary schools during the 1920s and 1930s, they included their own works and those of their colleagues. The result was that new literature advocates began to canonize those authors and works as representative examples of modern Chinese literature before or in step with the formal collection of May Fourth literature during the mid-1930s. Commercial textbook publishing thus provided a potent mechanism for proponents of the new literature to claim centrality and status for themselves and their works in ways similar to how literary scholar Michel Hockx describes different groups positioning themselves in the literary field through organization of societies and publication of journals.6...

On encountering Clara Iwasaki's Rethinking the Modern Chinese Canon: Refractions across the Transpacific, one first notices the striking boldness of the title. Yet after reading the book, one may feel the title appears almost too modest. Iwasaki's critical concept of refractive relations offers exciting possibilities for the study of cross-cultural literary or artistic traveling in any direction, though her stated aim is to increase attention to the multidirectional and multilingual movement of texts across the Transpacific. Using this concept of refractive relations, “which draws both from [Shu-mei] Shih's relational approach and [André] LeFevre's description of translation as a form of refraction,” Clara Iwasaki entirely dispenses with anxieties of adaptation and trueness to an original, instead examining the ways in which authors and texts achieve new meanings “when read with and against each other” (16, 17).As waves pass from one medium to another, waves refract: they bend their path and change their speed and wavelength. So too with the refractions Iwasaki examines: “These refractions are fundamentally shaped by historical and political forces across the transpacific, and these forces are inseparable from the way that these authors and texts travel, how they are translated, how they are received, and how all of these different refractions interact with one another” (17). Impeccably structured and theoretically coherent, the book consists of four chapters, each of which focuses on the various ways in which the work of a canonical author refracts along transpacific literary and artistic networks. By choosing to work with four canonical authors, Iwasaki allows her refractive method to demonstrate its own usefulness by offering compellingly novel approaches to very familiar figures.Chapter 1 examines Xiao Hong's work in light of her connection to, and translation by, Japanese and American leftist and cosmopolitan intellectuals. Here Iwasaki easily demonstrates her acumen as both a researcher and a reader. The chapter opens with a letter published in the year of Xiao Hong's death, in the Hong Kong newspaper Shidai wenxue, from Upton Sinclair to Xiao Hong, in which Sinclair thanks Xiao for her “beautiful gift which Agnes Smedley brought to me” and tells her that with the letter he encloses “a copy of my book” as well as “some of my recent pamphlets” (25). Following this strikingly material evidence of literary exchange, Iwasaki explores the literary networks formed among Xiao, Agnes Smedley, Helen Foster Snow, and Upton Sinclair, using their various interactions and exchanges to mutually illuminate their relationship to China and to leftist ideals. The chapter contains an astute reading of a reference to Sinclair's The Jungle in Xiao Hong's well-known short story “Hands.” Iwasaki focuses less on Xiao's narrator, who misses Sinclair's message, than she does on Xiao's proletarian protagonist, Wang Yaming, who relates Sinclair's character directly to her own life. Iwasaki writes, “Xiao Hong's depiction of reading the works of American leftist writers reveals the imaginative potential of proletarian fiction. The effect of this phenomenon is to create a shared readership among the marginalized” (39). Significantly, Iwasaki's own analysis illustrates how productive an attentive reading of Xiao Hong's novel can be for understandings of Sinclair's work.From the literary engagement with Sinclair's text, the chapter moves to consider the English translations of Xiao Hong's work undertaken by Helen Foster Snow and Chia Wu, and most recently—and imaginatively—by Howard Goldblatt. The title of the chapter, “Second Chances,” views translation not as the opportunity for a transcendent textual afterlife that Walter Benjamin imagines in his “The Translator's Task,” but instead asserts that “each [translation] remains less a transcendent entry into the literary canon and more a new, often selective interpretation” (31). Rather than evaluating these translations based on their trueness to the original text, Iwasaki remains refreshingly open: “The authors and translators discussed in this chapter,” she insists, “reimagine important aspects of the original text itself, engaging in a dialogue with it by imagining or refracting different possibilities for the text” (31).Chapter 2 considers the enduring allure of Yu Dafu, whose mysterious disappearance and inconclusive biography allow him to simultaneously serve competing nationalisms. The chapter is motivated by two excellent and overlapping questions: “What makes Yu Dafu so portable? Why does he travel with ease along the transpacific circuits left by Japanese imperial aggression?” (71). The chapter does not so much answer these questions as provide multiple examples of scholars and authors conducting literal or metaphorical searches for Yu Dafu, in the process of which they use his image “to suit the ends of Japanese apologism, pan-Asianism, Chinese nationalism, and Sinophone Malaysian identity” (105). In this chapter, the archive figures prominently as a potential repository of clues to the location of the “corpus or corpse” of Yu Dafu, who, after fleeing Singapore for Sumatra, left his home one night in 1945 and never returned (72). While Iwasaki does not directly make this point, the chapter strongly implies that part of what facilitates Yu Dafu's portability is the unsolved mystery of his life: the absence of a definitive ending to his life story allows Yu Dafu's image to be commemorated and his story molded to suit the political aims of the teller.Chapter 3 investigates Lao She's Anglophone and Sinophone canons, focusing on the translations of his long-lost Chinese manuscript, Gushu yiren, translated into English as The Drum Singers by Helena Kuo, and then back into Chinese by Ma Xiaomi. The chapter examines translation as a gendered process, considering the ways in which Lao She's female translators insert themselves into their work. Chapter 4 explores what Iwasaki calls the “parasitism” in Zhang Ailing's posthumously published manuscripts: her tendency after settling in the United States to recycle her literary work as she translates between English and Chinese, “cannibalizing” her own writing in the process (153).The book is rich in biographical detail and anecdote, as well as in sensitive readings. Figures who appear flat in previous literary historical accounts come to life in idiosyncratic detail. We learn that Helen Foster Snow, for example, invoked Arthurian legend in imagining Mao Zedong as “the chairman of the Yenan Round Table. His men were knights and the women were truly ladies!” (52). Iwasaki shows her prowess as a reader through an aptitude for identifying “echoes,” a process that stresses her careful attention to her source material. For instance, in chapter 3, Iwasaki finds these echoes resonating in the descriptions of the male form in Helena Kuo's own novel, Westward to Chungking, and in her translation of Lao She's The Drum Singers. Iwasaki's analysis of these echoes allows her to persuasively claim that “as a translator, Kuo makes her influence and her point of view felt throughout the novel while using the name of the author and assuming his voice” (132).Yet at times rather bold claims are made for which the book offers scant evidence. One is struck by a paragraph that opens with the provocation, “As a youth Yu Dafu was notorious for fetishizing corpses” (90). In turning to the footnote, the evidence provided is not conclusive: “A charge made by Yu Dafu about himself and echoed in ‘Buyi.’ See Tsu, Sound and Script, 188” (108). While a primary source would be preferable to the otherwise unproblematic citation from Sound and Script, using contemporary Malay-Chinese author Ng Kim Chew's short story “Buyi” as justification for a biographical claim about Yu Dafu borders on the farcical. Ng Kim Chew's protagonists frequently indulge in salacious speculation about Yu Dafu, as Iwasaki well knows: “Ng's stories satirize and respond to the scholarly record by repositioning scholars who seek to learn more about Yu Dafu's disappearance as corpse and corpus fetishists who are obsessed with uncovering details of the life of the famous Chinese author” (98). Is no one immune?The book displays a remarkable objectivity regarding writers who, though canonical, have also been the subject of scandal or political intrigue, and have attempted, sometimes very successfully, to wield this notoriety. As Iwasaki writes, “All the authors discussed in this book have drawn upon their literary persona to captivate readers” (152). Furthermore, the agents of these authors' refraction, who are often their translators or biographers and occasionally scholarly critics, are shown here to take a very free hand as they move the authors' works into new languages or represent them in alternative literary contexts. If Iwasaki judges her subjects, she works hard not to let her reader see it, beginning with the emphatic title of her introduction: “No Heroes, No Villains.” For example, Iwasaki refrains from asking whether Helena Kuo should have done what she did to Lao She's text and focuses instead on what happened when she did it. In the end, the first undertaking would always rest on opinion, however well founded and persuasive. The fact that Iwasaki pursues, instead, the second undertaking prevents her from falling into the same trap that beset Hu Yuzhi and Suzuki Masao, the Yu Dafu scholars that Ng Kim Chew lampoons in his short story. In Iwasaki's description, “By reading for Yu Dafu, they overlook everything else in front of them” (94). For her part, Iwasaki remains acutely alert to what is in front of her. Her openness to her material allows her to very persuasively claim in conclusion, “Literary refraction holds the possibility of revealing alternate angles or hidden traces that are missed in the anthologization of national and world literatures. While these refractions do not fit into a single unified image of an author, as is often expected, the resulting messy effects result in multiple and often contradictory images which highlight the richness of the material” (191–92). To borrow an image Iwasaki deftly wields throughout her analysis, it is the brokenness of the mirror, after all, that makes it glitter.

Language switching involves multiple processing stages. Previous studies have not dissociated the cognitive process underlying language form switches and concept switches. Here, we examined the two factors using a novel language-switching paradigm. Chinese-English bilinguals named individually presented pictures in either Chinese or English according to a language cue. Pictures in two consecutive trials represented either identical, semantically related, or unrelated concepts. Results showed both language (form) switch costs and concept switch costs. The interaction between these two factors suggested that the effects were additive, with the longest naming response times observed when two pictures were semantically unrelated and involved a switch between languages. These findings suggest that the functional loci of the language control mechanism occur at multiple processing stages. Implications of the findings are discussed within current models of language processing in bilinguals.

Reviewed by: Modernism, Middlebrow and the Literary Canon: the Modern Library Series, 1917-1955 by Lise Jaillant Hannah McGregor (bio) MODERNISM, MIDDLEBROW AND THE LITERARY CANON: THE MODERN LIBRARY SERIES, 1917-1955, by Lise Jaillant. London: Pickering & Chatto, 2014. xii + 211 pp. $99.00. Lise Jaillant’s Modernism, Middlebrow and the Literary Canon is an engagingly written and rigorously researched study of the Modern Library, focusing on the role of the quality reprint series in the circulation and popularization of modernist authors throughout the 1920s and 1930s. Jaillant offers convincing evidence, accrued through careful historical and archival research, that the interwar period in the United States was characterized by a blurring of the lines between modernism and the middlebrow, between prestigious classics and popular bestsellers, and between canonical authors and modern celebrities. In this way, Jaillant’s book constitutes a meaningful contribution to the field of middlebrow studies, particularly recent scholarship that has explored the middlebrow as an “amorphous … sphere” that could bring together the high and low in unexpected combinations that appealed to a wider range of cultural consumers.1 Jaillant’s book takes the form of six case studies bracketed by a brief introduction and conclusion, with each study teasing out the role of one more-or-less canonical author in the Modern Library series: H. G. Wells, Sherwood Anderson, James Joyce, Virginia Woolf, Willa Cather, and William Faulkner. This approach allows her to be particularly precise in her discussion, aided throughout by graphs and maps that emphasize the studies’ fine attention to detail, of paratext, circulation, advertising, and reception. These case studies are brought together through what Jaillant calls “a forgotten moment in the history of modernism—the moment when ‘high’ modernist texts were sufficiently attractive to be reprinted in a cheap series, but had not yet been dissociated from ‘lesser’ works” (4). Tracing the shift from the early 1920s, when canonical modernists like Joyce and Woolf had become household names in the United States but were not yet widely accessible to common readers, to the post-World War II period, when suspicion of the masses and the emergence of professional literary criticism (especially New Criticism) led to rejection of the Modern Library’s democratizing drive, Modernism, Middlebrow and the Literary Canon concludes that there was a moment when Joyce and Woolf could be read not only as modern classics but as “exciting and pleasurable” bestsellers (102). The case study of Woolf’s introduction to Mrs Dalloway is the most effective demonstration of how attention to context shifts our understanding of the relation between modernism and the middlebrow.2 Between 1928 and 1948, the Modern Library printed an edition of Mrs Dalloway accompanied by an introduction written by Woolf— [End Page 227] an introduction distinctly at odds with the perception of Woolf as a highbrow writer with well-documented disdain for the middlebrow.3 As Jaillant explains, the “Battle of the Brows” Woolf fought in England was a culturally specific debate shaped by the gender and class dynamics of the emerging literary profession in the United Kingdom (97). A similar debate certainly played out in the United States, but across different timelines;4 Jaillant argues that, in the 1920s, “American intellectuals did not share the same kind of anxieties over the ‘brows’” and “were content with the development of a vast middlebrow sphere, with less distinct ‘high’ and ‘low’” (97). The Modern Library’s focus on blurring distinctions between high and low modernist texts gave Woolf access to a wider and more diverse readership, which allowed her to explore her interest in amateur literary criticism. While Mrs Dalloway never stopped selling well for the Modern Library, the reception of modernism had shifted by the 1940s. The study of authors like Woolf became “institutionalized in English departments,” and modernism itself “came to be seen as a difficult movement for an elite” (102). It is only with the recent advent of the New Modernist Studies, Jaillant asserts, that the understanding of modernist literature as elite, aesthetically difficult, and reserved for professional readers has been challenged. Joyce was similarly popularized for an American audience via his inclusion in the Modern Library series. When A Portrait of the Artist as a...

Dissemination of definitions and concepts of allergic and hypersensitivity conditions

Sámi Literature in Norwegian Language Arts Textbooks

Teaching and Learning Guide for: Social Movements in Organizations

The Language of Captivating Customers' Hearts: Language Creativity in the Creative Industry. This study aims to: (1) describe the form of language in the creative industry of fashion products (2) describe the function of language in fashion products that use the customer's heart (3) describe consumer responsses to language that creates attractiveness. This type of research is qualitative research. Sources of data in this study are the fashion industry, and informants based on gender, age, and occupation. Data collection techniques were carried out by documentation, questionnaires, and interviews. The research instrument consisted of the main instrument being the researcher and the supporting instruments, namely voice recordings, and data analysis guides. The results of the study revealed that the forms of language used in T-shirt products were the use of regional languages, wise words, word games, proverbs, plays, rhymes, expressions, appeals, and funny words. The language functions in t-shirt fashion products are the entertaining function, the motivating function, and the inspiring function. In addition, consumer responsses can be seen on the three variables such as by gender, age, and occupation. Various forms of language use on t-shirts are due to different consumer choices/tastes, with various language functions that make consumers really believe in choosing these fashion products.

Indonesian internet users (Netizens) are considered uncivilized in using the internet. The Digital Civility Index (DCI) states that the politeness of Indonesian netizens was ranked 29th out of 32 countries and the worst in Southeast Asia. The uncivility of netizens is closely related to the use of emotive language, so it is necessary to study the use of emotive language by netizens. The emotive language of Indonesian netizens in responding to YouTube posts is very interesting to study from a cyberpragmatic perspective. Cyberpragmatic studies are the use of language and communication in a digital environment or in cyberspace. The problems studied in this study are formulated: (1) How is the lingual form of the emotive language of Indonesian netizens realized in responding to YouTube posts in a cyberpramatic perspective? And (2) How is the emotive language function of Indonesian netizens realized in responding to YouTube posts in a cyberpramatic perspective? The purpose of this study is to describe and explain the realization of the form of Indonesian netizen emotive language and the function of netizen emotive language in responding on YouTube posts. This research is a descriptive qualitative research. The research data is in the form of netizens' verbal responses to internet-mediated YouTube posts as a field for cyberpragmatic studies. Data was collected using the Simak Bebas Libat Cakap (SBLC) technique. Data analysis was carried out using descriptive techniques using the interactive model Miles and Huberman (1992) with the stages of data collection, data reduction, data presentation, and verification/drawing conclusions. Based on the results of data analysis, it was concluded that the lingual form of emotive language is stated in utterances in declarative, interrogative, and directive modes, while the function of emotive language is stated in delarative speech acts with the function of stating, informing, confirming, giving advice, and praying; in expressive speech acts with functions of praising, expressing pleasure, expressing pride, thanking, apologizing, satirizing, mocking, and insulting; in imperative speech acts with functions of ordering, prohibiting, inviting, and asking. The conclusion of this study is that the lingual form of emotive language is realized in speech in declarative, interrogative, and directive modes.

whole. At most we talk about sizable subsets of writers and works of past. This limited field is current literary canon. Some have argued that much same is true of individual works: that in literary artifact permits us to attend now to small samples, now to larger traditions and groupings of which work in its unitary sense forms a mere constituent. This may be true in part, although much has still to be said on side of artifact's integrity. But however that may be, few will dispute elasticity of literature. The literary canon varies obviously-as well as unobviously-from age to age and reader to reader. The Dame Mutability who produces these marvelous changes has often been identified with fashion. Isaac D'Israeli, early proponent of this view, argued that prose and verse have been regulated by same caprice that cuts our coats and cocks our hats, and concluded his essay on literary fashion with claim that times, then, are regulated by different tastes. What makes a strong impression on public at one time, ceases to interest it at ... and every age of modern literature might, perhaps, admit of a new classification, by dividing it into its periods of fashionable literature.' Now fashion's claim to rule is not easily denied. A desire for novelty, which we should not undervalue, has much to do with pleasure in literary form. Nevertheless, is more than fashion and should not be subordinated to trivial laws of circumstance. But to recognize taste for what it is, we need at least to glimpse its involvement in multifarious processes, many of them apparently quite unconnected with literature. Their variety, which is subject of Kellett's challenging essay The Whirligig of Taste, calls for extended study. In present paper I shall look at only one determinant, genre. As soon as one thinks of genre in relation to taste, one is struck by how many of D'Israeli's instances of displaced fashions are described in generic or modal terms: the brilliant era of epigrammatic points, another age was deluged by a million of sonnets, an age of epics,

The purpose of this research is to determine the knowledge, perceptions and misconceptions of preservice primary school teachers about geometric objects through mind maps. For this purpose, the research was designed with a case study, one of the qualitative research methods. The study group of the research consists of 52 pre-service primary school teachers studying at a state university in the Aegean Region of Turkey. After giving information about mind maps to pre-service primary school teachers, they were asked to create mind maps about the concept of “Geometric Objects”. The created mind maps were subjected to content analysis and codes and categories were created. The mind maps of pre-service primary school teachers were analysed one by one, starting from the centre towards the outer branches and separated as related and unrelated concepts. As a result of the research, it was revealed that most of the pre-service primary school teachers who participated in the study used the concepts of geometric objects and geometric shapes interchangeably. In addition, as a result of the analysis of the first branches of mind maps, it was determined that unrelated concepts were more than related concepts. Very few of them have reached the fourth branch in the mind maps created by pre-service primary school teachers, and they had difficulty explaining the concept. In line with the results obtained from the research, the concepts related to geometric objects should be taught in the undergraduate education of pre-service primary school teachers to provide meaningful learning about geometric concepts in pre-service primary school teachers.

The Persuasive Language of Makassar City Celebrities in Offering Products. This study aims to: (1) Describe the form of persuasive language of the Makassar City program in offering products. (2) Describe the function of the Makassar City program in offering products. This type of research is qualitative research using descriptive methods. The focus of this research is phrases, clauses, and sentences. The source of the data in this study is celebgram. Data collection techniques are carried out by screen recordings, screenshots and observations. The research instruments consist of researchers, recording tools, and data analysis guides. The results of the study revealed that the persuasive forms used by the program when offering products, namely the form of affirming, the form of rewards, the form of offering several products, the form of praise, the form of swabbing, the form of persuasive language convincing, the form of persuasive language in the form of an invitation, the form of persuasive language in the form of orders, the form persuasive language in the form of asserting, persuasive language forms in the form of questions, forms of guarantees, forms of follow-up and forms of diverting attention. The function of persuasive language used by program celebrities is the function of providing information, the function of introducing products, the function of adding value. The use of several persuasive forms is due to consumers coming from different backgrounds. The use of various persuasive language functions so that consumers are more confident in choosing the products offered.

Language as a communication tool plays a very important role in human life because human language can interact and talk about anything. Language as a tool to convey thoughts, ideas, concepts, or feelings. An intellectual must think and the process of thinking definitely requires language. Language also functions as a means for social interaction and the media conveys ideas, the purpose of this study is to describe the function of language in counsels among adolescents. The method used in this study is a qualitative descriptive method. The data in this study are various languages ​​including the form of language, language functions, and the meaning of expressions. The form of language in the form of words, phrases, clauses, and sentences. Language functions in the form of expression functions, information functions, exploration functions, persuasion functions, entertainment functions, Data sources in this study are the function of language on shirts among teenagers. The technique used in this data collection is documentation, see, and note. The results of research on the function of shirts on teenagers that the function of language is a tool of social interaction, as a medium for conveying ideas, concepts, thoughts, and expressions of feelings including expression functions, information functions, exploration functions, persuasion functions, and entertainment functions on shirts. among teenagers.

Review of resilience hubs and associated transportation needs