Summary of the text no.2
What will a man be like in the future? A man will be like these in the future. A man will continue to grow taller five hundred years after. And then, his eyes will grow stronger over a very long period of time. After that, his arms and legs are likely to grow weaker in a modern life. His hair doesn’t serve a useful purpose any longer in the future. So, a man will still have a lot of common with us. He will still be human being, with thoughts and emotions similar to our own.
Kamis, 26 Mei 2011
Sabtu, 21 Mei 2011
Tyas Samesti_Chart
Language Acquisition
Chronology of language development
month Receptive skill Expressive skill
0-3 Recognize human voice Reflex human
3-6 Learn to distinguish affection from scolding Babbling begins
6-9 Response to simple words “as a smile” Increasing variety of sound and reduplication or echoic response
9-12 Response to simple commands Uses first word
12-18 Increasing response to more complicated sentence Twenty words
This is a table about chronology of language development which children start understands about a language. For the first step 0-3 month normally children in the world can recognize human voice and give reflex human. Then 3-6 month they learn to distinguish affection from scolding and babbling begins. They response to simple word, they increasing variety of sound and reduplication or echoic response in 6-9 month. They response to simple command and uses first word for example say “daddy” in 9-12 month. For the next step baby in 12-18 month increasing response to more complicated sentence and twenty words.
Chronology of language development
month Receptive skill Expressive skill
0-3 Recognize human voice Reflex human
3-6 Learn to distinguish affection from scolding Babbling begins
6-9 Response to simple words “as a smile” Increasing variety of sound and reduplication or echoic response
9-12 Response to simple commands Uses first word
12-18 Increasing response to more complicated sentence Twenty words
This is a table about chronology of language development which children start understands about a language. For the first step 0-3 month normally children in the world can recognize human voice and give reflex human. Then 3-6 month they learn to distinguish affection from scolding and babbling begins. They response to simple word, they increasing variety of sound and reduplication or echoic response in 6-9 month. They response to simple command and uses first word for example say “daddy” in 9-12 month. For the next step baby in 12-18 month increasing response to more complicated sentence and twenty words.
Jumat, 20 Mei 2011
CHART_YUSANTI
APPLE REVENUE BY SEGMENT (BILLIONS OF DOLLARS)
From that chart, the writer explain about Apple's iPhone business, represents a whopping 40% of the company's revenue, and has been the company's biggest revenue generator for three quarters in a row. During the March quarter, iPhone revenue grew 124% from year to year to $5.4 billion, or 40% of Apple's $13.5 billion in total revenue. Because of high profit margins on the iPhone. Apple's second biggest business is its Mac computer division, which grew 27% from year to year in the March quarter to $3.8 billion, or 28% of Apple's overall sales.
From that chart, the writer explain about Apple's iPhone business, represents a whopping 40% of the company's revenue, and has been the company's biggest revenue generator for three quarters in a row. During the March quarter, iPhone revenue grew 124% from year to year to $5.4 billion, or 40% of Apple's $13.5 billion in total revenue. Because of high profit margins on the iPhone. Apple's second biggest business is its Mac computer division, which grew 27% from year to year in the March quarter to $3.8 billion, or 28% of Apple's overall sales.
SUMMARY_YUSANTI
Video shows dramatic footage of lightning striking jet above Heathrow airport
By Chris Lehmann
If the best you can do when you're caught between the moon and New York City is fall in love as the treacle eighties pop song had it. it seems safe to say that among the worst experiences you can have in a plane awaiting clearance to land at a major airport is to be struck by lightning. In a video filmed as ominous storm clouds gathered in the skies near London's Heathrow Airport, photographer Chris Dawson captured the dramatic spectacle of a bolt of lightning shooting through a Dubai-based Emirates Airbus 380 flight as it prepared for its descent. Dawson shot the video last month, but it has only recently surfaced in public.
"I saw the storm clouds gathering, and I thought conditions would be perfect for a lightning strike," Dawson told the UK Daily Mail.
Astonishingly, the 500 passengers on the plane landed on the ground without incident. But as David Lear mount of the air safety website Flight global explained to the Daily Mail, these incidents are fairly routine for airlines. "Planes get hit by lightning several times a year," Lear mount said. 'They act as a conductor. Getting a good strike like this can look very dramatic but it might not make any impact. The plane's body must contain metal so it can act as a conductor, allowing the electricity to pass through it. If it didn't have the metal, the plane could explode when hit."
SUMMARY
In this article give information for us that Photographer Chris Dawson captured the dramatic spectacle of a bolt of lightning shooting through a Dubai based Emirates Airbus 380 flight as it prepared for its descent. Astonishingly, the 500 passengers on the plane landed on the ground without incident. But as David Lear mount of the air safety website Flight global explained to the Daily Mail, these incidents are fairly routine for airlines. Lear mount said that "Planes get hit by lightning several times a year". Getting a good strike like this can look very dramatic but it might not make any impact. The plane's body must contain metal so it can act as a conductor, allowing the electricity to pass through it. If it didn't have the metal, the plane could explode when hit."
By Chris Lehmann
If the best you can do when you're caught between the moon and New York City is fall in love as the treacle eighties pop song had it. it seems safe to say that among the worst experiences you can have in a plane awaiting clearance to land at a major airport is to be struck by lightning. In a video filmed as ominous storm clouds gathered in the skies near London's Heathrow Airport, photographer Chris Dawson captured the dramatic spectacle of a bolt of lightning shooting through a Dubai-based Emirates Airbus 380 flight as it prepared for its descent. Dawson shot the video last month, but it has only recently surfaced in public.
"I saw the storm clouds gathering, and I thought conditions would be perfect for a lightning strike," Dawson told the UK Daily Mail.
Astonishingly, the 500 passengers on the plane landed on the ground without incident. But as David Lear mount of the air safety website Flight global explained to the Daily Mail, these incidents are fairly routine for airlines. "Planes get hit by lightning several times a year," Lear mount said. 'They act as a conductor. Getting a good strike like this can look very dramatic but it might not make any impact. The plane's body must contain metal so it can act as a conductor, allowing the electricity to pass through it. If it didn't have the metal, the plane could explode when hit."
SUMMARY
In this article give information for us that Photographer Chris Dawson captured the dramatic spectacle of a bolt of lightning shooting through a Dubai based Emirates Airbus 380 flight as it prepared for its descent. Astonishingly, the 500 passengers on the plane landed on the ground without incident. But as David Lear mount of the air safety website Flight global explained to the Daily Mail, these incidents are fairly routine for airlines. Lear mount said that "Planes get hit by lightning several times a year". Getting a good strike like this can look very dramatic but it might not make any impact. The plane's body must contain metal so it can act as a conductor, allowing the electricity to pass through it. If it didn't have the metal, the plane could explode when hit."
Kamis, 19 Mei 2011
Summary_Santi Ramdhani
Environment’s Change
Day by day, throughout history man has changed the physical environment of this earth. Man changed it with the way of technology. He has transformed woodlands, prairies, lakes, rivers, and also mountains to the new forms such as farmland, irrigation, roads and railways. But those all did not make the benefit. In developing those transforms into the modern, there are some disadvantage which is appear. For example is the pollution. And the pollution of air and water has make danger the health of this planet. The pollution of gasses of motorcycle, industrial areas, and surrounding areas of the countryside becomes unhealthy. And also the pollution in the sea is equally harmful because those could make so many fishes died. So, the conservationists believe that it is so important for man to limit the growth of technology so that the earth can survive.
Day by day, throughout history man has changed the physical environment of this earth. Man changed it with the way of technology. He has transformed woodlands, prairies, lakes, rivers, and also mountains to the new forms such as farmland, irrigation, roads and railways. But those all did not make the benefit. In developing those transforms into the modern, there are some disadvantage which is appear. For example is the pollution. And the pollution of air and water has make danger the health of this planet. The pollution of gasses of motorcycle, industrial areas, and surrounding areas of the countryside becomes unhealthy. And also the pollution in the sea is equally harmful because those could make so many fishes died. So, the conservationists believe that it is so important for man to limit the growth of technology so that the earth can survive.
revision of previous summary_Siti Nurohmah
setting by: Jo Anne Fontanilla
Every story takes place at same point or points in space and in time. It is incumbent upon the writer of fiction to "place" his story in space and time, as early as possible in his narrative, so that you will begin making the proper associations with the setting. The setting also presents a share of technical difficulties, but most novelists embrace them gladly. The novel is a prose form and emphasizes realism: its style ought to be, for the most part, terse and transparently plain. Whatever poetic impulse the novelist may have is
likely to be frustrated: only the setting provides him an outlet for it; for in his descriptive writing he is allowed to express his feeling for beauty and create a scene in lavish hues, if he wishes.
The degree of elaboration with which setting is depicted depends upon a number of considerations, all of which the astute writer keeps in mind. Perhaps the first consideration is the importance of the setting in relation to the other essential elements in the story---plot and character. In some stories--- especially contemporary stories that takes place in surroundings that are familiar to most readers--- the element of setting can be safely minimize. The particular setting, moreover, is not indispensable to the conversation that constitutes the body of the story, although the weather not only furnishes its title but also points symbolically to the problem raised by the slightly developed plot.
Another consideration for the conscientious writer is the probable familiarity of his setting. If the setting is one that is likely to be familiar to most of his readers, the writer need to depict it in detail; he may assume that the details he selects will give his readers that pleasure of recognition that is one of the special values of familiar material. For example, although millions of Americans have never visited Coney Island, most of them are so well acquainted with the appearance and nature of the resort that the writer
using this setting in a story for an American audience need feel no compulsion to present this particular setting elaborately.
With a setting that is remote from most readers not only in space but also in time, a different problem arises. A writer may safely assume that contemporary London will be much more familiar to most of his readers than Elizabethan or eighteenth-century London. If his story takes place in either earlier period, the writer will have to build up his setting out of appropriate details. Such a treatment involves information concerning the houses, the costumes, the manners, and the types of work and play characteristic of the
period. Since the development of literary realism, readers become increasingly critical of the accuracy of historic settings, and the contemporary writer runs the risk of annoying his readers if he indulges in such conspicuous anachronism as the Elizabethan audience allowed its dramatist when they used settings remote in time and place. In the use of settings much less familiar than New York or London---such as ancient Persia or medieval India---the contemporary writer may content himself with a minimum of specific details---so long as the details he chooses and emphasizes are appropriate---since every few of his readers are in a position to challenge the historical accuracy of such details as he offers.
Finally, the treatment of setting, like the treatment of character, will depend on the mode in which the writer is working, whether it is classical, romantic, or realistic. What we have said concerning character in this connection is equally true of setting. In classical stories---in Samuel Johnson's Rasselas or Voltaire's Candide, for instance---the setting is usually sketched in broadly. In romantic stories there is a greater attention to detail, the writer may fall back on elements in setting that have been accumulated by generations of romance writers. The Romantic Age brought in a passionate sense of identification with nature, and the idealization of it. It is soon reflected in the novel. In realistic stories, the writer must consider seriously the accuracy and fullness of his details, since it is one of the tenets of realism that setting should be depicted with a high degree of circumstantiality. Faithful adherence to this tenet resulted in the development, in the middle and later nineteenth-century.
The most richly regional story in this collection is Faulkner's "Was," and the very detailed presentation of setting, atmosphere, and manners is justified not only because the place and the time of the story are unfamiliar even to most American readers, but also because the details are intrinsically
interesting and amusing.
In contemporary realism, however, the reader is likely to find a rather less circumstantial treatment of American settings than the realistic fiction of the nineteenth century. This less particularized treatment is due, on the one hand, to the writers assumption that readers have now become familiar with the flora and fauna of regional America and, on the other hand, to a change in the conception of the technique of effective description.
In the more expansive form of the novel, the writer may feel free to devote a proportionately greater amount of space to the depiction of setting in and by itself than the constricted form of the short story will permit.
Most authors' delight in turning out lengthy passages of description, "set pieces" with lavish strings of adjectives. However, by now that belongs to a past fashion. Today's readers are impatient and skip solid pages or even paragraphs that do not advance the story. It is best to insert description as unobtrusively as possible, an image here, and the next---after dialogue, or a bit or scatter his pictures of the physical background, just as a dramatist artfully handles his "exposition."
Percy Lubbock observes that paring a novel bare of most detail is occasionally good, but not very often. The consensus is that the factual inventory can be carried too far, is it is by Hugh Walpole and Theodore Dreiser, who compile altogether too much insignificant data; but that is merely abuse of a method. Too few externals can also be an error. To most of us, clothes and houses are telling clues, and the novelist owes it to us to report how his characters dress, and vividly where and how they live. At the
same time, he fulfils his role in a larger degree as a social historian. But, besides this a professor Lathrop suggests, the setting has become ever more important in contemporary fiction, because we increasingly recognize a man's background as one of the factors that has shaped him. The active pressure of environment in forming personality is widely acknowledged now. "The setting is seen as a 'force'…The plot is often presented not as a thing in itself, but as something caused and conditional, possible and characteristic only in its milieu. Hence, the greater demand to have the setting authentic, realistic. A thin or inadequately studied setting is not acceptable today."
Ultimately, the kind and amount of background detail one likes in a book depends on its subject and aim, and no less on the temperament of the author and each reader.
References:
Reading Fiction: A Method of Analysis with Selections for Study by Millett, Fred Benjamin ,Harper; New York 1950
The Art of Reading the Novel by Freund, Philip, Collier Books; New York 1965
http://litera1no4.tripod.com/setting_frame.html
Summary
According to Jo Anne, setting is the story takes place and time. When the readers know that, they can make sense between the story and setting. There are degrees in elaborating setting in the story. Those are:
1. The importance of the setting in relation to the other essential elements in the story---plot and character. Setting is also included in the problem that exists in symbols and develop plot.
2. The familiarity of setting. If it is familiar enough for the readers, it is not necessary to give the detail about it.
3. The writer has to give appropriate detail up to its period. It is about the accuracy of historical context.
The treatment of setting also depends on how the writer chooses the mode to describing it. For example, in classical stories, the setting usually is described broadly; in romantic stories, it really observe in detail; and in the realistic stories, it really focus on accuracy of detail.
Her advice to elaborate it is by inserting description up to necessary, an image, or little bit image of physical background. It is according to Percy Lubbock’s observation that giving the detail of setting in the story is good, but not very often. But beside that, a professor Lathrop suggest that in contemporary fiction, setting become more important because it can make personality of the character by the active pressure of it.
Finally, we can conclude that setting and giving detail of it depend on its subject and purpose.
Every story takes place at same point or points in space and in time. It is incumbent upon the writer of fiction to "place" his story in space and time, as early as possible in his narrative, so that you will begin making the proper associations with the setting. The setting also presents a share of technical difficulties, but most novelists embrace them gladly. The novel is a prose form and emphasizes realism: its style ought to be, for the most part, terse and transparently plain. Whatever poetic impulse the novelist may have is
likely to be frustrated: only the setting provides him an outlet for it; for in his descriptive writing he is allowed to express his feeling for beauty and create a scene in lavish hues, if he wishes.
The degree of elaboration with which setting is depicted depends upon a number of considerations, all of which the astute writer keeps in mind. Perhaps the first consideration is the importance of the setting in relation to the other essential elements in the story---plot and character. In some stories--- especially contemporary stories that takes place in surroundings that are familiar to most readers--- the element of setting can be safely minimize. The particular setting, moreover, is not indispensable to the conversation that constitutes the body of the story, although the weather not only furnishes its title but also points symbolically to the problem raised by the slightly developed plot.
Another consideration for the conscientious writer is the probable familiarity of his setting. If the setting is one that is likely to be familiar to most of his readers, the writer need to depict it in detail; he may assume that the details he selects will give his readers that pleasure of recognition that is one of the special values of familiar material. For example, although millions of Americans have never visited Coney Island, most of them are so well acquainted with the appearance and nature of the resort that the writer
using this setting in a story for an American audience need feel no compulsion to present this particular setting elaborately.
With a setting that is remote from most readers not only in space but also in time, a different problem arises. A writer may safely assume that contemporary London will be much more familiar to most of his readers than Elizabethan or eighteenth-century London. If his story takes place in either earlier period, the writer will have to build up his setting out of appropriate details. Such a treatment involves information concerning the houses, the costumes, the manners, and the types of work and play characteristic of the
period. Since the development of literary realism, readers become increasingly critical of the accuracy of historic settings, and the contemporary writer runs the risk of annoying his readers if he indulges in such conspicuous anachronism as the Elizabethan audience allowed its dramatist when they used settings remote in time and place. In the use of settings much less familiar than New York or London---such as ancient Persia or medieval India---the contemporary writer may content himself with a minimum of specific details---so long as the details he chooses and emphasizes are appropriate---since every few of his readers are in a position to challenge the historical accuracy of such details as he offers.
Finally, the treatment of setting, like the treatment of character, will depend on the mode in which the writer is working, whether it is classical, romantic, or realistic. What we have said concerning character in this connection is equally true of setting. In classical stories---in Samuel Johnson's Rasselas or Voltaire's Candide, for instance---the setting is usually sketched in broadly. In romantic stories there is a greater attention to detail, the writer may fall back on elements in setting that have been accumulated by generations of romance writers. The Romantic Age brought in a passionate sense of identification with nature, and the idealization of it. It is soon reflected in the novel. In realistic stories, the writer must consider seriously the accuracy and fullness of his details, since it is one of the tenets of realism that setting should be depicted with a high degree of circumstantiality. Faithful adherence to this tenet resulted in the development, in the middle and later nineteenth-century.
The most richly regional story in this collection is Faulkner's "Was," and the very detailed presentation of setting, atmosphere, and manners is justified not only because the place and the time of the story are unfamiliar even to most American readers, but also because the details are intrinsically
interesting and amusing.
In contemporary realism, however, the reader is likely to find a rather less circumstantial treatment of American settings than the realistic fiction of the nineteenth century. This less particularized treatment is due, on the one hand, to the writers assumption that readers have now become familiar with the flora and fauna of regional America and, on the other hand, to a change in the conception of the technique of effective description.
In the more expansive form of the novel, the writer may feel free to devote a proportionately greater amount of space to the depiction of setting in and by itself than the constricted form of the short story will permit.
Most authors' delight in turning out lengthy passages of description, "set pieces" with lavish strings of adjectives. However, by now that belongs to a past fashion. Today's readers are impatient and skip solid pages or even paragraphs that do not advance the story. It is best to insert description as unobtrusively as possible, an image here, and the next---after dialogue, or a bit or scatter his pictures of the physical background, just as a dramatist artfully handles his "exposition."
Percy Lubbock observes that paring a novel bare of most detail is occasionally good, but not very often. The consensus is that the factual inventory can be carried too far, is it is by Hugh Walpole and Theodore Dreiser, who compile altogether too much insignificant data; but that is merely abuse of a method. Too few externals can also be an error. To most of us, clothes and houses are telling clues, and the novelist owes it to us to report how his characters dress, and vividly where and how they live. At the
same time, he fulfils his role in a larger degree as a social historian. But, besides this a professor Lathrop suggests, the setting has become ever more important in contemporary fiction, because we increasingly recognize a man's background as one of the factors that has shaped him. The active pressure of environment in forming personality is widely acknowledged now. "The setting is seen as a 'force'…The plot is often presented not as a thing in itself, but as something caused and conditional, possible and characteristic only in its milieu. Hence, the greater demand to have the setting authentic, realistic. A thin or inadequately studied setting is not acceptable today."
Ultimately, the kind and amount of background detail one likes in a book depends on its subject and aim, and no less on the temperament of the author and each reader.
References:
Reading Fiction: A Method of Analysis with Selections for Study by Millett, Fred Benjamin ,Harper; New York 1950
The Art of Reading the Novel by Freund, Philip, Collier Books; New York 1965
http://litera1no4.tripod.com/setting_frame.html
Summary
According to Jo Anne, setting is the story takes place and time. When the readers know that, they can make sense between the story and setting. There are degrees in elaborating setting in the story. Those are:
1. The importance of the setting in relation to the other essential elements in the story---plot and character. Setting is also included in the problem that exists in symbols and develop plot.
2. The familiarity of setting. If it is familiar enough for the readers, it is not necessary to give the detail about it.
3. The writer has to give appropriate detail up to its period. It is about the accuracy of historical context.
The treatment of setting also depends on how the writer chooses the mode to describing it. For example, in classical stories, the setting usually is described broadly; in romantic stories, it really observe in detail; and in the realistic stories, it really focus on accuracy of detail.
Her advice to elaborate it is by inserting description up to necessary, an image, or little bit image of physical background. It is according to Percy Lubbock’s observation that giving the detail of setting in the story is good, but not very often. But beside that, a professor Lathrop suggest that in contemporary fiction, setting become more important because it can make personality of the character by the active pressure of it.
Finally, we can conclude that setting and giving detail of it depend on its subject and purpose.
summary no.5_Siti Nurohmah
5. Adults have some advantage on education. Adult learners often know exactly what they need to learn. Because they have experience of life, they know what knowledge will be useful to them and what will not. If they cannot read or write, they have experienced the problems caused by illiteracy. If they cannot do their job well, they have experienced the loss of income or of job opportunities caused by lack of vocational training. Adults have usually accumulated a wealth of experience of life in general that can help them in learning. They have more practical, everyday experiences that help them understand what they learn in school.
Feng Lian, for example, is a textile plant supervisor in Shanghai, China. She graduated from secondary school, but she didn’t learn much in school about electricity and how it is used in factories. Now she must supervise the electrical system in the factory, and she has to know a lot about electrical transmission systems. She is going to night class that will teach her what she needs to know. She already has many questions about the subject and is ready and eager to learn. If she does succeed in her night class, she can get an even better job.
Michael Johnson owns a small construction business in California. Like many other U.S citizens, he did not really learn to read and write in school and dropped out of school when he was fourteen years old. Michael was smart, and he was good at building things and at using machines. He was very successful as a construction worker and eventually started his own business. His wife helped him read and write what he needed, and he learned how to hide his inability from others. Finally, at the age of thirty-eight, Michael is going back to school to a special program to learn how to read and write. He is learning very quickly, partly because he is smart and partly because he knows how important reading and writing are to his work.
Summary
There are some advantages that are had by adults on education. Those are they really know what they need to learn because they have more life experiences, and they can more understand what they learn in school by practicing more. For examples, Feng Lian who is a textile plant supervisor in Shanghai and only graduated from secondary school, takes night class to get a lot about electrical transmission systems to get better job later and Michael Johnson who owns a small construction business in California and dropped out of school in fourteen years old, takes a special program to learn how to read and write because they are very important in his work.
Feng Lian, for example, is a textile plant supervisor in Shanghai, China. She graduated from secondary school, but she didn’t learn much in school about electricity and how it is used in factories. Now she must supervise the electrical system in the factory, and she has to know a lot about electrical transmission systems. She is going to night class that will teach her what she needs to know. She already has many questions about the subject and is ready and eager to learn. If she does succeed in her night class, she can get an even better job.
Michael Johnson owns a small construction business in California. Like many other U.S citizens, he did not really learn to read and write in school and dropped out of school when he was fourteen years old. Michael was smart, and he was good at building things and at using machines. He was very successful as a construction worker and eventually started his own business. His wife helped him read and write what he needed, and he learned how to hide his inability from others. Finally, at the age of thirty-eight, Michael is going back to school to a special program to learn how to read and write. He is learning very quickly, partly because he is smart and partly because he knows how important reading and writing are to his work.
Summary
There are some advantages that are had by adults on education. Those are they really know what they need to learn because they have more life experiences, and they can more understand what they learn in school by practicing more. For examples, Feng Lian who is a textile plant supervisor in Shanghai and only graduated from secondary school, takes night class to get a lot about electrical transmission systems to get better job later and Michael Johnson who owns a small construction business in California and dropped out of school in fourteen years old, takes a special program to learn how to read and write because they are very important in his work.
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