bluuebunny/crossref_metadata_2025_split huggingface dataset:
PENGEMBANGAN PERANGKAT PEMBELAJARAN MEMBACA PEMAHAMAN MENGGUNAKAN GRAPHIC ORGANIZER PLOT DIAGRAM UNTUK KELAS VI SEKOLAH DASAR
Authors: Gustriani Delita 
Published: August 2019

ABSTRACT
Teachers have responsibility to create and develop an effective learning instruments in order to facilitate the student to understand the reading content optimally. Unfortunately, not all teachers are able to accept and run that responsibility. There are, it is important to develop an effective learning instruments by using Graphic Organizer Plot Diagram as the solusion. The learning instruments were developed by using 4-D model (Defining, Designing, Developing, and Disseminating). The design was validated by four experts and three educational practitioners. To see the practicality and the effectiveness of the instruments developed, it then was tried out limitedly to the students in class VI of SDN 18 Air Tawar Selatan. The disseminating phase, however, was done in a limited scale. The result of the research indicated that the validity rate into the category of highly valid. Then upon the assessment on the implementation of lesson plan, the responses from teachers and learning participants and the observations on teaching materials indicated that the practicality rate fell to the category of highly practical. Moreover, the result of the activity of learning participants on reading comprehension indicated to be effective. Based on the result of the research, it was concluded that the Graphic Organizer Plot Diagram strategy-oriented reading comprehensionlearning instruments developed had been valid, practical, and effective.
Keywords: Learning Instruments, Reading Comprehension, Graphic Organizer Plot Diagram.
ABSTRAK
Guru memiliki tanggung jawab untuk membuat dan mengembangkan instrumen pembelajaran yang efektif untuk memudahkan siswa memahami isi bacaan secara optimal. Sayangnya, tidak semua guru dapat menerima dan menjalankan tanggung jawab itu. Ada, penting untuk mengembangkan instrumen pembelajaran yang efektif dengan menggunakan Graphic Organizer Plot Diagram sebagai solusinya. Instrumen pembelajaran dikembangkan dengan menggunakan model 4-D (Mendefinisikan, Merancang, Mengembangkan, dan Menyebarluaskan). Desain ini divalidasi oleh empat ahli dan tiga praktisi pendidikan. Untuk melihat kepraktisan dan keefektifan instrumen yang dikembangkan, kemudian diadili secara terbatas kepada siswa di kelas VI SDN 18 Air Tawar Selatan. Namun fase penyebarluasan dilakukan dalam skala terbatas. Hasil penelitian menunjukkan bahwa tingkat validitas masuk dalam kategori sangat valid. Kemudian setelah penilaian pada pelaksanaan rencana pelajaran, tanggapan dari guru dan peserta belajar dan pengamatan pada bahan ajar menunjukkan bahwa tingkat kepraktisan jatuh ke kategori sangat praktis. Selain itu, hasil dari aktivitas peserta belajar membaca pemahaman diindikasikan efektif. Berdasarkan hasil penelitian, disimpulkan bahwa Grafik Organiser Plot Diagram yang berorientasi pada strategi membaca pemahaman instrumen pembelajaran yang dikembangkan telah valid, praktis, dan efektif.
Kata kunci: Instrumen Pembelajaran, Pemahaman Membaca, Diagram Plot Grafis
Turbidite sedimentology, biostratigraphy and paleoecology: A case study from the Oligocene Zuberec Fm. (Liptov Basin, Central Western Carpathians)
Authors: Starek Dušan , Šimo Vladimír , Antolíková Silvia , Fuksi Tomáš 
Published: August 2019

Abstract
Outcrops of a thick turbiditic succession are exposed on the northern bank of the Liptovská Mara reservoir near Liptovská Ondrašová and Ráztoky. The section consists of rhythmic, predominantly thin- to medium-bedded turbidites of the Rupelian age. Their biostratigraphy is based on the calcareous nannofossils. Facies associations of these deposits represent different components of depositional lobe deposits in the turbidity fan system, including mainly the lobe fringe and lobe distal fringe/inter-lobe facies associations and locally the medium bedded deposits of the lobe off-axis facies association. This interpretation is supported by statistical analysis. The deep-sea turbiditic deposits contain trace fossil associations, which include deep-tier fodinichnia and domichnia up to shallow-tier graphoglyptids. Paleocurrent measurements indicate that the majority of sedimentary material was transported from SW and W.
Oligocene turbidite fans of the Dukla Basin: New age data from the calcareous nannofossils and paleoenvironmental conditions (Cergowa beds, Polish–Slovakian borderland)
Authors: Pszonka Joanna , Žecová Katarína , Wendorff Marek 
Published: August 2019

Abstract
Calcareous nannofossils found in the Cergowa beds of the Dukla and Fore-Dukla tectonic units in the Outer Carpathians indicate a time of deposition in the range of the NP23–NP24 nannoplankton zones of the Lower Oligocene. Nannoplankton assemblages reflect the paleoecological changes at the Eocene–Oligocene transition from: (i) a greenhouse to an icehouse climate; (ii) brackish to normal salinity suggesting open sea conditions, which were controlled by the Paratethys Basin closure followed by opening and connection with the Tethyan Ocean. The absence of nannofossils of NP25 zone, but their presence in the tectonic windows between 40 and 80 km to the west, shows that deposition of the Cergowa beds in the western part of the basin lasted longer than in the east. Occurrences of nannofossils indicating zones NP16 and NP21, found in the uppermost mudstone-rich parts of studied sections, may prove the remobilization and redeposition of sediments of this stratigraphic age. Potentially, eroded material could be derived from some of the following lithostratigraphic units: NP16 — the Hieroglyphic beds, Przybyszów sandstones and Upper variegated shales; NP21 — the Globigerina marls, Mszanka sandstones and sub-Chert marls and shales and/or fine-grained equivalent of these units. Reworked specimens derived from the older Mesozoic strata occur occasionally in various samples.
Integrated bio- and cyclostratigraphy of Middle Triassic (Anisian) ramp deposits, NW Bulgaria
Authors: Ajdanlijsky George , Strasser André , Götz Annette E. 
Published: August 2019

Abstract
A cyclostratigraphic interpretation of peritidal to shallow-marine ramp deposits of the early Middle Triassic (Anisian) Opletnya Member exposed in outcrops along the Iskar River gorge, NW Bulgaria, is presented. Based on facies trends and bounding surfaces, depositional sequences of several orders can be identified. New biostratigraphic data provide a time frame of the studied succession with placement of the boundaries of the Anisian substages and show that the Aegean (early Anisian) substage lasted about 1.6 Myr. In the corresponding interval in the two studied sections, 80 elementary sequences are counted. Five elementary sequences compose a small-scale sequence. The prominent cyclic pattern of the Opletnya Member can thus be interpreted in terms of Milankovitch cyclicity: elementary sequences represent the precession (20-kyr) cycle and small-scale sequences the short eccentricity (100-kyr) cycle in the Milankovitch frequency band. Medium-scale sequences are defined based on lithology but only in two cases can be attributed to the long eccentricity cycle of 405 kyr. The transgressive-regressive facies trends within the sequences of all scales imply that they were controlled by sea-level changes, and that these were in tune with the climate changes induced by the orbital cycles. However, the complexity of facies and sedimentary structures seen in the Opletnya Member also implies that additional factors such as lateral migration of sediment bodies across the ramp were active. In addition, three major sequence boundaries have been identified in the studied sections, which can be correlated with the boundaries Ol4, An1, and An2 of the Tethyan realm.
Jewish-Christian Dialogue to Nostra Aetate in the Catholic and the Orthodox Churches
Authors: Poirot Eliane 
Published: August 2019

Abstract
Chapter 4 of the Declaration Nostra Aetate of the Second Vatican Council marks a decisive turn of the relations between Catholics and Jews. Numerous books and articles have tried to discuss the application of this declaration 50 years after its proclamation by Pope Paul VI. on October 28, 1965, to take stock. Nostra Aetate has also been recorded by Orthodox theologians, as some articles attest. After skimming the initiated implementation of this chapter through the ensuing Jewish-Catholic dialogue, we will introduce the Jewish Orthodox. We will distinguish the Judeo-Christian dialogue at the universal level and at the local level. For the Jewish-Catholic dialogue at the local level, we will examine the situation in France and for the Jewish-Orthodox dialogue the situation in Romania. In view of the connection between theology and history, we will mention not only the texts related to this dialogue, but also some events that have favored or slowed it down.
Challenges of Facebook Integration in High Education
Authors: Shefketi Batije , Hamiti Mentor 
Published: August 2019

Abstract
Currently, the Internet has become a part of the everyday life of human beings. The way of communication between people has changed and social networks are dominating in the lives of everyone. One of the most used social networks is Facebook, but besides that it is used for communication and entertainment, Facebook can also be used for learning. Therefore, the main issue of this paper is the use of Facebook for educational approaches by students and teachers. Case studies are the challenges of integration of Facebook in High Education in the municipality of Kumanovo in the Republic of North Macedonia in 2016. Special emphasis is devoted in usage of Facebook in schools as the main questions were whether students use Facebook to ask for help for assignments or any material, and do teachers use Facebook to post assignments and to communicate with students. To understand this, there are conducted two questionnaires, one to students and one to teachers and interviews with school principals, and finally responses of people who participated have been analyzed. The result is that by joining Facebook in education, students are more motivated to learn, Facebook helps students to learn by sharing knowledge with each other and by using Facebook at school, teachers will find it easier to inform students.
Pencug
Authors: Fajariansyah Adimas Muhammad 
Published: August 2019

The time until now the existence of tepak pencug has not found a place in the hearts of the composers or other creators to make it as the source of creation in realizing a work of art (music). Though tepak pencug often used as a creativity event of a rider in accompanying dance jaipong for improvisation rythm. That way, it is clear that many patterns or motifs of Sundanese drums are born by improvisations. That is the good idea for creation to be developed into a work of music. Based on the symptoms of that’s the meaning, the idea that becomes an offer in the work of pencug music is to cultivate or explore the motives that exist in kendang sunda (especially tepak pencug) into a work of art object (music).The purpose of the creation of the compositions of musical works is to develop patterns, rhythms and motifs in the form of music composition. While the benefit is to contribute thoughts about the process of creation through the development of patterns, rhythms and motifs in the drum kendang Sunda to other creators. The realization of the work of this musical composition can’t be separated from various sources that provide inspiration and guidance or reference. This work uses two types of sources as a reference, namely the source of art work and some sources of books (literature of review). The work of the composition of pencug music refers to the concept of working on Suwanda as the owner and creator of tepak kendang jaipongan. These methods include; Salambar directly saayana tinu heubeul (what it is from the first), janten ku nyira (so by itself or improvisation) and ngarobah nu aya (change existing). The form of musical composition of pencug composition refers to the concept of musical form of vocal-instrumental mix (sekar gending). The structure of the composition of the music composition consists of three parts, among which part bubuka, stuffing and ending. Keywords: Tepak Pencug, Development, Sekar Gending.
ANALISIS KO-TEKSTUAL DALAM AUDIO VISUAL BAGIAN TEATER TRADISI TARLING DRAMA BARIDIN KARYA H. ABDUL AJIB PRODUKSI KURNIA NADA GROUP
Authors: Waro'ah Waro'ah 
Published: August 2019

Tarling drama Baridin is a traditional theater show from Cirebon whose story idea stems from the myth of kemat Jaran guyang. Background of social disparity between two families makes Baridin performing Jaran guyang's death as a result of heartache because he has been insulted and love isrejected. The research of co-textual analysis of Baridin drama tarling aims to explain the aspects of Tarling drama Baridin as a theater tradition intrinsically. The result of this research is to know the dialogue, plot, characterization, background and theme of Bariar drama tarling show, and to knowthe meaning of the dashed verse of Jaran guyang seen from the denotative and connotative meaning which become the myth as well as the message that do not insult and do rude to others. Keywords: tarling, drama, co-textual analysis, myth
Pemeranan Tokoh Scapin Dalam Naskah Akal Bulus Scapin Karya Moliere Terjemahan Asrul Sani
Authors: Juniarto Dwi 
Published: August 2019

Pemeranan tokoh Scapin dalam naskah Akal Bulus Scapin, merupakan perancangan akting komedi Farce. Bentuk akting komedi ini memfokuskan pencarian bentuk-bentuk ekspresi yang karikatural. Komedi Farce adalah sebuah pertunjukan yang sengaja dibuat-buat untuk menghasilkan kelucuan. Oleh karena itu dalam menciptakan tokoh Scapin dengan akting komedi Farce, aktor menciptakan gestur lucu yang komikal, permainan yang spontan, menciptakan tone vokal yang spesifik, gerakan-gerakan yang ganjil, dan kejutan-kejutan. Tujuan dari pemeranan tokoh Scapin ini adalah agar pembaca khususnya pelaku seni peran agar dapat menemukan dan mengetahui cara bermain akting komedi pada tokoh Scapin dalam naskah Akal Bulus Scapin dengan permainan gaya akting komedi Farce.Keyword : Aktor, Komedi, Farce, Moliere
PENCIPTAAN TOKOH ROSE THOMAS DALAM NASKAH PERANGKAP KARYA EUGENE O’NEILL TERJEMAHAN FARIED. ABE
Authors: Pramesti Nindya 
Published: August 2019

Women often has a bad experience. Rose Thomas, a 22-year-old young prostitute is faced a very difficult position. Rose is a street prostitute and already has children. In addition, she must also earn a living in the middle of TB disease she suffered. Even physical violence seemed to be common to her. This condition is trying to be presented in the script The Web by Eugene O'Neill translation Faried W. Abe, where humans already have their own trap. When fate is willing, we can not escape. Problems will always come and go. In playing this script, the actor uses the realist acting theory Stanislavski to try to bring human behavior fairly on stage. Of course to realize it must go through the various stages of the creation of a character until there will be a new human who appears with the conflict that she had. Keywords: Rose, Eugene O'Neill, The Web, Prostitute, TBC, Violence, Realist, Stanislavski
MEMBANGUN RUANG URBAN ALTERNATIF MELALUI PERFORMANCE ART
Authors: Sathotho Surya Farid 
Published: August 2019

Abstract: Space is created by the action of historical subject. This notion is refer to Urban in space context which is fluid and its fluidity is challenging to any subject to offer new idea of its space. Performance as historical subject has capacity to create certain space in the process while performance per se takes in certain place, mostly in the urban place, and space. By shifting the performance’s place, the alternative space will be created which might include alternative urban space. Although the idea of shifting of place in performance is nothing but cliché, but the place is can always be new, hence the space created as well. Furthermore, the performativity of the space is also taken into consideration.This essay carries out the process and implication of the new space created by shifting a performance’s place through the close watching of M Brilyan’s Mother’s Dance (2018). Key words: space, urban, shifting, performance, performativity, Mother’s Dance
PEMERANAN TOKOH NORA DALAM NASKAH RUMAH BONEKA KARYA TERJEMAHAN AMIR SUTAARGA (NASKAH ASLI A DOLL’S HOUSE KARYA HENRIK IBSEN)
Authors: Lestari Supiriani 
Published: August 2019

A translated script "Rumah Boneka" (A Doll's House) by Amir Sutaarga from the original script "A Doll's House" by Henrik Ibsen which is a criticism onto human male's egoisms and slightly exposes the gender equality to human female. Ibsen aims to reveal the wrong social statements onto female's social role and its social institutions. The main actor in this play will portray Nora by applying the "magic if" acting theory which was introduced by Constantin Stanislavsky - "as if" and "if only" kind of self-imagination where the actor imagines to be in Nora's shoes. In the application of this theory of acting, the exploration goes through certain levels of acting rehearsals to really get into the character of Nora's along with her conflicts. Key word: A Doll's House, Henrik Ibsen, Nora, Constantin Stanislavsky, Magic If.
Penciptaan Pertunjukan Teater Banowati Sang Pelakor Sebuah Implementasi metode Penyutradaan Augusto Boal
Authors: Nurcahyono Wahid 
Published: August 2019

A work of art should not only be a means to entertain, but can be broader and penetrate political and social barriers. Call it Augusto Boal, a Brazilian man who grew up in Rio de Janeiro. he experimented where he suggested different actions for the characters in the show who were subjected to oppression, and the actors who played the characters then made audience suggestions. With the experiments he did, he was able to uncover the thoughts of the people to the deepest niches that were often not spoken verbally about the position of those who were oppressed by the social and political reality in their place. Through this kind of theater, it would be interesting if the writer tries to reveal a social phenomenon that has multiple interpretations about who is blamed if there is a case of infidelity. With this kind of theater, the audience as well as the actors will be aware of the background or motivation of someone in the position of the victim or those who take advantage. This time's creation was intended to explore the possibility of the function of a show in people's lives. Problems that were originally complicated and tended to be deadlocked to be solved by playing theater directly. What needs to be considered for the creators of performing arts is that art is able to provide its own offer to communicate openly and break down the dividing walls of the mind in a segmented society so as to provide mutual awareness. Keyword : Theater, Opressed, Comunication, Awareness
Sehu: Dalang Wayang Potehi (布袋戲) di Jawa
Authors: Kuardhani Hirwan 
Published: August 2019

Potehi is a hand-glove puppetry theatre art form, brought by the Chinese emigrant from Fujian in the sixteenth century. It used to be performed in their vessels (Jung-Jung) when they were docked. The Hokkian dialect was used at that time. As more Chinese immigrants settled down in Indonesia, they carried along the Potehi art in Java. Along the way, Potehi ceased to be performed in Hokkien dialect. Instead, it was Melayu Pasar or Melayu rendah (now Indonesian Language) being used, which was indeed the lingua franca among the Chinese community then. Nevertheless songs and poetry were still in Hokkian. Sehu called dalang Potehi. Was originally sehu as Hokkian true, a long the way sehu as Pranakan’s Tionghoa an than in this time sehu from etnic Java. The acculturation with the local society resulted in a very unique Potehi which was different from its original version. Potehi merupakan pertunjukan sarung tangan, yang dibawa para emigran China dari Fujian sekitar abad enam belas. Potehi biasanya dipertunjukkan di Jung-jung atau kapal-kapal mereka ketika sedang mendarat. Mereka menggunakan bahasa Hokkian dalam pertunjukannya. Ketika orang-orang Tionghoa menetap di Indonesia mereka membawa serta kesenian Potehi di Jawa. Pada perkembangannya pementasan Potehi tidak lagi menggunakan bahasa Hokkian melainkan menggunakan bahasa Melayu Pasar atau Melayu Rendah (sekarang bahasa Indonesia), bahasa yang sekaligus menjadi bahasa pengantar kaum Tionghoa saat itu. Walaupun untuk lagu dan syair masih memakai bahasa Hokkian. Sehu merupakan sebutan bagi dalang wayang Potehi. Awalnya sehu adalah orang Hokkian asli, pada perkembangannya adalah orang-orang Peranakan, dan saat ini sehu dari etnis Jawa. Proses akulturasi dengan penduduk setempat membuat pertunjukan Potehi menjadi unik dan berbeda dengan negeri asalnya.
Wayang Bèbèr Damarwulan
Authors: Mahmudi Mahmudi 
Published: August 2019

This “Wayang Bèbèr Damarwulan” work is an interpretation of wayang bèbèr based on the creator’s experience in studying arts. This work is a wayang Bèbèr artwork using traditional picture language (two dimension theory) and shape transformation theory. Both of these theories are used to combine the art of “kethoprak” with the story of Damarwulan into Wayang Bèbèr which then performed as a new version of wayang Bèbèr. By combining kethoprak into wayang Bèbèr, it is expected to be a new attractive and interesting wayang Bèbèr performance for the society. Karya Wayang Bèbèr Damarwulan adalah suatu bentuk interpretasi baru dari wayang bèbèr. Interpretasi baru ini lahir dari pengalaman yang diperoleh perancang selama menekuni dunia seni, baik seni lukis maupun seni pedalangan. Karya Wayang Bèbèr Damarwulan ini merupakan penggarapan wayang bèbèr berdasarkan teori bahasa rupa tradisional/RWD (teori ruang waktu datar) dan teori alih wahana. Kedua teori tersebut digunakan sebagai kerangka berpikir dalam merancang Wayang Bèbèr Damarwulan yang merupakan sebuah karya wayang bèbèr versi baru perpaduan antara kethoprak cerita Damarwulan dengan wayang bèbèr. Karya ini diharapkan dapat membuat pertunjukan wayang bèbèr semakin menarik dan diminati masyarakat.
Ki Enthus Susmono: Skandal Performatif Don Juan dan Kebaruan Gagrag Pedalangan
Authors: Hariyanto Hariyanto 
Published: August 2019

This article analyzes Ki Enthus Susmono’s performance through observing some of his previous performances, with the performance idea of Shoshana Felman (2003) in his book, The Scandal of Speaking Body: Don Juan with J.L. Austin, or Seduction in Two Languages, which reads the Don Juan theater by Molière. As a result, it was found that there were similarities between promises by J.L. Austin, Don Juan and Ki Enthus Susmono. Ki Enthus Susmono’s performance has been successfully built through the eclectic, parody and irony representation of postmodern art, which shows the reality of his body’s actions, has been produced repeatedly to produce certain effects so that it becomes a habit (myth). Through his performativity, Ki Enthus Susmono showed his success in building a novel marker of gagrag puppetry. Artikel ini menganalisis performativitas Ki Enthus Susmono melalui pengamatan beberapa rekaman pertunjukannya terdahulu, dengan gagasan performativitas Shoshana Felman (2003) dalam bukunya, The Scandal of The Speaking Body: Don Juan with J.L. Austin, or Seduction in Two Languages, yang membaca teater Don Juan karya Molière. Hasilnya, ditemukan bahwa ada kesamaan antara tindakan janji oleh J.L. Austin,Don Juan dan Ki Enthus Susmono. Performativitas Ki Enthus Susmono berhasil dibangun melalui strategi representasi seni postmodern yang eklektis, parodi, dan ironi, yang menunjukkan realitas tindakan tubuhnya, telah diproduksi berulangkali untuk menghasilkan efek tertentu sehingga menjadi kebiasaan (mitos). Melalui performativitasnya tersebut, Ki Enthus Susmono menunjukkan keberhasilannya membangun penanda kebaruan gagrag pedalangan.