Sabtu, Maret 24, 2012

Nasty Reality

I will talk about the story of Nasty Reality that I’ve been going through recently. The first story started right here: Self-Confidence, the thing that makes you confidence about yourself. The thing that you need to defend yourself from insult and mockery from your friend, the point is for your self-defense. What if there isn’t something about yourself to make you confidence about yourself? Well the answer to that question is only you who know it, try to find something in yourself that difference from the other people, cause what makes you different is actually makes you special. I know I’m the right person to tell you this, because honestly I still can’t find something inside me that makes me different from the other people. I just gotta keep finding it. Another thing, don’t let all the insult and mockery from the people near you let you down. According to my experience, there are two options to handle those people. First, just shut up and don’t pay a single damn thing that your friends talked about you, they will embarrass of themselves at last. If they not embarrass, then they have no shamed. Second, if you brave enough you should fighting back those people who insulted and mocked you with the same hurtful level of their insult and mockery, if it less then they will not feeling it, if it more there are possibilities that they will mad of you, that’s what mean by Nasty Reality. The people who always give us the insulting and mockery, they just love to give us the insulting and mocking to us without realized it might be hurt someone’s feeling. But, when we hit back their insulted and mockery they get mad because of it, damn it! That’s one of the behavior that I called bad immature, they say people who says the word “immature” to describe fun people , are the boring people who doesn’t know how to have fun, well that’s one of the bad immature. There are actually two kinds of immature behavior, first Bad Immature is when you act fun and you’re making the other people hurt because of act that you did, and that’s not cool. Good immature is when you act fun and you’re not making the other people hurt because of act that you did, and that’s cool. So, I just want to remind to all the people who make a lot of insulting and mockery to the other people, if you all don’t want to be insulted and being mocked by the people who being insulted and mocked by you, then you must not insulted and mocked people in the first place you idiot!

The second story started right here: Yesterday, I heard one of my friends tell the other friend of mine that “there is no friendship that not have mutual benefits to each other or both sides, to these day everything has to be reciprocal”, when I first hearing that stuff honestly and I get upset and ask to my friend: “so, are you expecting something from our friendship?” and he say: “well yeah, everything has to be reciprocal at these day”. I hate the thing that my friends just said to me at that time, and what I hate the most is they laugh after they said all that stuff. I was so upset and sad at the same time, but I can’t say anything about it because they will say some non-sense argue and I’m sick of hearing it, so I just leave them and keep my upset and sad feeling in my heart. What I don’t understand is why there is a people who speak such thing, they like speak that there are no honest and pure friendship anymore at these day, they were lose belief of friendship, I know they were. But I’m not gonna be like them, I promise. I will keep and defend on the name of friendship that friendship are still honest and pure without expecting some mutual benefits to each other or both sides, friendship are not like that. Excuse me, if you think that friendship are like that then you’re not know anything about friendship. All the nasty reality that I talking about right now is 100% real, and remember whatever you do just don’t lose belief of the thing that you believed and the thing that you sure is right. Always keep believe and sure.

Rabu, Maret 21, 2012

Comparing the Literature of the British Isles


1.       Terminological Problems
-          Sorting one’s ways through the terminology is extremely complex, and it can be deeply offensive to make mistakes. So, for example, if we speak of British comparative literature, to include Irish writers would be an act of appropriation, because Irish work would be subsumed under the heading of British.
-          A way out of the difficulty, for comparative purposes then, is to abandon the term British, and to propose instead a comparative study of the literatures of the British Isles.

2.       Languages, Dialects, and Identity
-          In which case the linguistic map of the British Isles would consist principally of Celtic languages (Erse, Irish, of Northern Ireland, Scots Gaelic, and Welsh, as living languages, with a body of texts in Manx and Cornish and Germanic languages (English, Scots, and Norse) with channel Island French and a growing number of languages in daily use within immigrant communities.
-          The problem for a comparatist is that knowledge of the Celtic and Germanic languages is unevenly distributed. English dominates, and the marginalization of Celtic languages has meant that they tend to be learned in situ only.
-          Only a bilingual scholar who had a Celtic language and English, could undertake comparative study, and it would also mean that Scots, Anglo-Welsh, and Anglo-Irish would be excluded because the boundary between their status as languages and as dialects would be unclear. The result would be an affirmation of the hegemony of English, with further marginalization of the literary production of Wales, Scotland, and Northern Ireland.
-          The problem of dialect also applies to English English. Henry Wyld, in the early twentieth century, defined Standard English as a class dialect, arguing that this form of English is common to educated classes regardless of regional origin. Standard English, then, was, and is a class dialect, untainted by regional accent and the model speaker the future King of England.
-          The suppression of Celtic languages, the penalization of Celtic speakers, the process of Anglicizing place name and baptismal names that went on for centuries left a legacy of bitterness as strong as that felt today by ethnic groups.
-          The persistence of history in the literatures of Ireland, Scotland and Wales, as history understood in a special ways as an account of an ongoing struggle for national identity, is in marked contrast to the English version of history, which traces instead the gradual rise to the world dominance of the English language and its literature.

3.       The Significance of History
-          In contrast, Irish, Welsh and Scots Gaelic have been undergoing a living revival, for reasons that have everything to do with a reassertion of national identity through the medium of language.
-          There is no space here even attempt a proper discussion of the revival of Celtic languages over the past century, but the important point to note is that such a revival has been taking place, and that despite the dominance of English there are a great many speakers of Welsh, Irish and Gaelic, and a flourishing literary and performance tradition in all three.
-          Fact that English literature enjoys a particularly exalted place in the world, partly through the influence of individual writers and more recently through the prominence of the English language.
-          If we compare the state of literary production and of libraries across the British Isles around the time of the Norman conquest, we find a flourishing oral poetry in Wales and Ireland, in contrast to the Saxon tradition which had sunk into decline. The Irish libraries had been one of the glories of Europe for centuries.
-          As Thomas Parry has argued in his ground-breaking history of Welsh literature, the combination of political union and the Protestant Reformation brought about a leap forward in Welsh prose writing. That leap forward happened, as it so often does, in times of cultural transition, through translation.
-          In the later part of the sixteenth century, the Bible was translated into Welsh. The Bible, Parry feels gave Wales standard Welsh, a literary language which, in a country ‘which lacked a university or any cultural institution’, was to serve as a focal point.
-          By the end of the eighteenth century, the start of the Age of Romanticism, another period of great literary development in English, the picture across the British Isles had again changed completely.
-          In both Scotland and Ireland the wretched poverty of the mainly rural population led millions to emigrate in search of a better life. Moreover, the changing class structure had created an English-speaking gentry in both countries, with the Celtic languages despised and outlawed. Despite the attempts to suppress Scots Gaelic and Irish, both languages like Welsh, survived.
-          By the end of the eighteenth century the cultural interface between Dublin, Edinburgh, and London had gone beyond any sense of binary opposition between Celtic and Teutonic linguistic systems.
-          What we can deduce from this quirk skimming across the centuries is:
   - Firstly, that the predominance of English and of English literature is a relatively recent phenomenon and coincides.
   - Secondly, that English expansion into the Celtic cultures of the British Isles has been characterized by a conscious strategy of linguistic discrimination.
   - Thirdly, that it is hardly surprising given such circumstances that the revival of nationalism should have had its impact on Welsh, Scottish, and Irish writers and intellectuals, and should have led to a revival of interest in Celtic languages and the Celtic tradition.
-          Unlike the Czech revival, there was no consensus on the need to use the ‘national’ language had resulted in a peasantry who operated in spoken Welsh, Gaelic or Irish and a class of intellectuals who operated in their own variant of English.
-          As Sean Lucy says, attempting to define Anglo-Irish poetry, there is still ‘on the one hand a complex and developing relationship between two traditions, cultures, languages and on the others. In considering the British Isles at any point in time it is not enough to draw up maps that show variations in language distribution. Other factors such as the relationship between urban and rural communities, changes in the educational system and the impact of such changes on class patterns need to be considered too.

4.       Parochial and Provincial
-          We have to confront the hegemony of English before comparison can take place, and once that confrontation starts, all kinds of questions relating to minority/majority cultures come out into the open.
-          Patrick Kavanagh use writers make of national myths and the gap between ordinary lived experience and the construct of a myth of a nation, and in questioning the meaning of the national myth, he expounds his theory of parochialism and provincialism, a crucial distinction that offers an alternative way of perceiving the literary output of the British Isles.
-          Kavanagh’s distinction between parochial and provincial is an important one. In the context in which he used the term, he was reproaching fellow Irish writers for their provincialism, but he also touches upon the hierarchical relationship between the secondary margins and the primary centre and in proposing the universality of parochialism, he effectively deconstructs that hierarchy.
-          By focusing not on the general but on the specific by establishing a set of criteria, be they aesthetic or social that are determined parochially, the writer can draw readers into his or her world.

5.        Comparative Britains
-          Literature produced by writers of the British Isles could not be compared without an understanding of the problematics of ‘Britishness’, and that the difficulties of using the term ‘British’ could not be understood without some sense of the use made of that term at different moments in the past.
-          The dominance of English as a language, as a literature and as a political system has resulted in a marginalization of a great deal of marvelous writing from elsewhere in the islands.
-          The terminology of ‘English literature’ or ‘English studies’ is used all-embracingly, so that Welsh, Scottish, Northern Irish and Irish writers are frequently included within a syllabus without any reference to their different point of origin and different literary traditions.
-          The points are, it is becoming possible to think of comparing the literatures of the British Isles without resorting to discriminatory or appropriatory tactics and comparative literary study of the British Isles has to begin and end with a rethinking of the processes of naming.

How To Play Charades?

Charades is a game of pantomimes: you have to "act out" a phrase without speaking, while the other members of your team try to guess what the phrase is. The objective is for your team to guess the phrase as quickly as possible.

Equipment

  • a stopwatch or other timing device
  • a notepad and pencil for scorekeeping
  • blank slips of paper
  • two baskets or other containers for the slips

Preparation

Divide the players into two teams, preferably of equal size. Divide the slips of paper between the two teams. Select a neutral timekeeper/scorekeeper, or pick members from each team to take turns. Agree on how many rounds to play. Review the gestures and hand signals and invent any others you deem appropriate.
The teams temporarily adjourn to separate rooms, to come up with phrases to put on their pieces of paper. These phrases may either be quotations or titles of books, movies, plays, television shows, and songs. Here are some suggested rules to prevent the phrases from being too hard to guess:
  • no team should write down any phrase unless at least three people on the team have heard of it;
  • no phrase should be longer than seven words;
  • no phrase should consist solely of a proper name (i.e., it should also contain other words);
  • no foreign phrases are allowed.
Once they have finished writing their phrases, the teams come back to the same room.

To Play

Each round of the game proceeds as follows:
  • A player from Team A draws a phrase slip from Team B's basket. After he/she has had a short time to review the slip, the timekeeper for team B notes the time and tells the player to start. Team A then has three minutes to guess the phrase. If they figure it out, the timekeeper records how long it took. If they do not figure it out in three minutes, the timekeeper announces that the time is up, and records a time of three minutes.
  • A player from Team B draws a phrase slip from Team A's basket, and play proceeds as above.
Normally the game continues until every player has had a chance to "act out" a phrase. The score for each team is the total time that the team needed for all of the rounds. The team with the smallest score wins the game.

Gestures

To act out a phrase, one usually starts by indicating what category the phrase is in, and how many words are in the phrase. From then on, the usual procedure is to act out the words one at a time (although not necessarily in the order that they appear in the phrase). In some cases, however, it may make more sense to try to act out the "entire concept" of the phrase at once.

To Indicate Categories:

  • Book title: Unfold your hands as if they were a book.
  • Movie title: Pretend to crank an old-fashioned movie camera.
  • Play title: Pretend to pull the rope that opens a theater curtain.
  • Song title: Pretend to sing.
  • TV show: Draw a rectangle to outline the TV screen.
  • Quote or Phrase: Make quotation marks in the air with your fingers.

To Indicate Other Things:

  • Number of words in the title: Hold up the number of fingers.
  • Which word you're working on: Hold up the number of fingers again.
  • Number of syllables in the word: Lay the number of fingers on your arm.
  • Which syllable you're working on: Lay the number of fingers on your arm again.
  • Length of word: Make a "little" or "big" sign as if you were measuring a fish.
  • "The entire concept:" sweep your arms through the air.
  • "On the nose" (i.e., someone has made a correct guess): point at your nose with one hand, while pointing at the person with your other hand.
  • "Sounds like": Cup one hand behind an ear.
  • "Longer version of :" Pretend to stretch a piece of elastic.
  • "Shorter version of:" Do a "karate chop" with your hand
  • "Plural": link your little fingers.
  • "Past tense": wave your hand over your shoulder toward your back.
  • A letter of the alphabet: move your hand in a chopping motion toward your arm (near the top of your forearm if the letter is near the beginning of the alphabet, and near the bottom of your arm if the letter is near the end of the alphabet).

Psychology

Psychology is virtual electro death metalcore band from Detroit, Michigan founded in 2009. The band that always put on a scary and mysterious mask that define the personality of each band member, this band is the most dangerous live band ever. Because when they perform live, they’re always throw the stuff away to the audience and to each other including their own stuff like guitars, drums, bass, turntables, and so on. This members of this band are Daniel “Digger” Dougy on Vocals and Percussion, Bobby “Brainoize” Bouglass on Vocals and Guitars, Anthony “Emo Boy” Black on Guitars and Backing Vocals, Charles “Yin & Yang Guy” Chun on Bass and Backing Vocals, Max “Robotronic” Million on Turntables and Keyboards, and Jack “Dafu*king Jones” on Drums and Percussion. Basically, all the member is singing a scream voice while they playing instruments. So, there isn’t really a lead vocals in this band. Ralph Vines decided to recruited them to join Angels Demons Records cause he’s so interesting to their style of live performance. Since then, they have release their debut album entitled “Here Comes The Pain”, and it is very smashing hit album for the band who just taken a contract with the new label. Get ready to feel the pain with Psychology!

Unity Culture

Unity Culture is virtual electro rock band from Miami, Florida founded in 2008 by Mario Marley, Earl East and Jamie Light. These three co-workers in some local market are the three best friends from high school. It’s safe to say that Marley, East and Light are the original members since the first formation until right now that still stayed in the band. Mario Marley on Drums and Percussions, Earl East on Turntables, Keyboards, and Backing Vocals, Jamie Light on Bass, Violins, and Backing Vocals. In 2009, they recruited Skid Row to fulfill on the Lead Vocals position and John Dawn on Lead Guitars position. And then, they join with Angels Demons Records to make their first debut album. Finally, after less than 6 months recording 12 song they release their first debut album entitled “The Consequences That Follow” which is quite success in top of the America Billboard chart. The color of their music is influence by Incubus, Linkin Park, and Yellowcard. With their new member and new spirit, they ready to rock the world with electro experimental rock music that they have! Yeah!

The Child Tunes

The Child Tunes is virtual alternative pop punk band from Long Island, New York founded in 2007 by Ralph Vines and Sheldon Goth. They’re both went to college in Columbia University in New York City, but then they meet with Peter Tusson at the freshman party in that university. After several time they played in a gig at the local bar or venue, they decided to form a band and named it: The Child Tunes. That name has meaning that they are The Child who likes and loves the sound of music or Tunes. After Tyran Jansen joined the band to complete the formation, they release their first EP entitled “TCT EP” that they recorded in Vines studios which is by now is named Angels Demons Records. Out of nowhere, their EP album is pretty success in iTunes.com, it has been download almost 1 million times in that website. After that good respond, they begin to record their first album in the beginning of 2008 and finish it in the late of 2008. Finally, in 2009 they release their debut album entitled “Invasion From The Underdog People” which is really success album and nominated for the most anticipated album of the year by Alternative Press Magazine, and that smashing hit album is make them to tour all around the world for almost two years. After the long tour, they decided to share the experience of their tour with releasing “The Child Tunes: The 3D Concert and Tour Experience”. And now, they’re come back to the studio to work on their second album, as planned out they will release that album in the late of this year.

Brackassist

Brackassist is virtual trio punk rock band founded in 2005 by three friends from the same neighborhood in Chicago, Illinois. They are Billy Philips on Guitar and Vocals, Michael Stars on Bass and Backing Vocals, and Aaron McCliff on Drums and Percussions. Before they join Angels Demons Records, they have release one EP album entitled “Punkerism EP”, but they decided to join Angels Demons Records in 2006. After all, Billy Philips and Peter Tusson are best friend since college. In 2008, they release their first full album entitled “Punk’s Not Dead, You Idiot!” which is very smashing hit album in a worldwide, sold more than one million copies all around the world. This big success isn’t just stop until there, they’ve been on tour all around the world for almost two years straight, 2009-2010. After coming back from their long tour, they enjoy their break for a second and come back to the studio to work on their second album which the title is still be secreted. These guys is ready to show the world that punk rock music is really not dead, just wait for their smashing album coming up on this year!