Poetizing Everyday Life in the Works by Wilhelm Genazino

Increased interest in everyday life and routine explains a new and relevant perception of the creative agenda of contemporary German writer Wilhelm Genazino (1943-2018), known as “poetizing everyday life”. The article, thus, aims to offer a comprehensive view into the poetics of the German novelist to identify ways in which everyday life is poetized, which is an example of linguistic mastery, narrative skill, and philosophical generalization. A close reading method is used to analyze specific scenes from the novels (An Umbrella for One Day, Happiness in Unhappy Times, The Foolishness of Love, If We Were Animals), in which the characters actively practice the “extended gaze”, theoretically validated in W. Genazino’s essay, to reveal a system of special ties important to their inner world behind the routine situations and worn clothes. The writer believes that in such a way, characters experience an epiphany, which provokes further musing about art and the mystery of everyday life. In this connection, it is established that Genazino’s characters manage to avoid the negative influences of society by distancing from it via self-invented aesthetic processes. They are constantly searching for individual vision. It is also noted that the writer focuses on prolonged disappearance scenes, works with time accumulated in objects, and projects distancing from one’s own self to clothes. The extended gaze which the protagonists use to watch their own portrayals helps them overcome identity crisis and generate art, which promises salvation, through simple observance. It is concluded that W. Genazino talks about the aesthetic link between the subject and object perceived as individual “cultural significance”. It enables the protagonists to discard the routine and enter a space outside the limits they have themselves created. Everyday objects and familiar situations have the capacity to stimulate memories and boost creative perception. Their fleeting nature provides for compensatory narration, which means dropping the inessential and petty and is, consequently, perceived as a productive narration. Everyday reality emerges as something that may be perceived as visible existence, which upon some consideration may reveal unique dimensions and gain particular significance based on intermediary space between what is perceived by the eye and the invisible, actualized by the inner vision. Such reflexive vision transcends the limits of things, transforming them and constituting new reality. Such is the underlying principle that the writer used to recreate everyday life in his works.

PENGEMBANGAN BUKU CERITA BERGAMBAR BERKEARIFAN LOKAL SUBAK PADA TEMA PEDULI TERHADAP MAKHLUK HIDUP UNTUK SISWA KELAS 4 SEKOLAH DASAR

The current issue which is discussed are: 1) the content of thematic book is not accordance with the current environment and culture of the students; 2) some of the books are not showing a proper real situation on the learning process; 3) the delivery of thematic book doesn’t align woth the scientific approach; and 4) The learning material at the elementary school is not able to develop the narrative skill of the student. This study aims to determine: 1) the validity of Development of Children's Story Book along the Local Wisdom of Subak with the Theme of Caring to the Living Creatures for Elementary School, 4th Grade; 2) the practicality of subak local wisdom children's storybooks in the theme of care to organism for grade 4th elementary school students; 3) students response of subak local wisdom children's storybooks in the theme of care to organism for grade 4th elementary school students. This research adopted the 4D model (Define, Design, Develop, and Disseminate). Collecting the validity data and practicality data was using manual data form. Two experts were involved in measuring the data validity. The collected data was using a Likert scale to present. Practicality data was estimated based on teacher and student responses as the object in this study: three teacher and 23 students of 4th Grade. The results showed that: 1) it obtained an average of 4.91, which was in the excellent category. 2) based on the results of the teacher response analysis, it obtained an average of 4.28, which is in the efficient category. 3) based on the results of the student response analysis, the percentage was 94% with the efficient category. These results concluded that these children's story book is valid and practical.

Peranan Orang Tua Dalam Pengembangan Literasi Dini Selama Covid-19 Pada Anak Usia 5-6 Tahun

This study aims to reveal the role of parents in developing children's early literacy during the Covid-19 period, by using a survey method with 26 respondents, namely parents of 13 boys and 13 girls. The analysis was carried out using the percent index formula and SPSS 16 software. The instrument was validatedwith expert judgment techniques and the reliable test showed the number 0.912> 0.60, which means that the questionnaire was reliable. The results of the data analysis showed that the parents in the TK Pembangunan Laboratorium UNPwere in the category of less role, with the average percentage of all skills being 62.09%. Researchers have revealed the role of parents in developing children's early literacy with details of the ability to print motivation skills of 53.34% which means less, print motivation skills of 67.04% which means sufficient, phonological awareness skills of 70.68% which means sufficient, vocabulary skills of 67.21% which means enough, narrative skill is 60.74% which means less, and letter knowledge is 53.55% which means less

Development of the Narrative Assessment Protocol-2: A Tool for Examining Young Children's Narrative Skill

Purpose Narrative skill, a child's ability to create a temporally sequenced account of an experience or event, is considered an important domain of children's language development. Narrative skill is strongly predictive of later language and literacy and is emphasized in curricula and educational standards. However, the need to transcribe a child's narrative and the lack of psychometrically justified scoring methods have precluded broad consideration of narrative skill among practitioners. We describe the development and validation of the Narrative Assessment Protocol-2 (NAP-2), an assessment of narrative skill for children ages 3–6 years, which uses event-based frequency scoring directly from a video recording of a child's narrative. Method The NAP-2 underwent a rigorous development process involving creation of four wordless picture books and associated scripts and identification of a broad item pool, including aspects of narrative microstructure and macrostructure. We collected two narratives from each of 470 children using the NAP-2 elicitation materials and scored each with the 60 items in the initial item pool. Results Cross-validated exploratory factor analyses indicated a single narrative skill factor. Rasch measurement analysis led to selection of 20 items that maintained high reliability while having good fit to the model and no evidence of differential item functioning across books and gender. Conclusions The NAP-2 offers a psychometrically sound and easy-to-use assessment of narrative skill for children ages 3–6 years. The NAP-2 is available freely online for use by speech-language pathologists, educational practitioners, and researchers. Supplemental Material https://doi.org/10.23641/asha.11800779

Basic Skills II

The four skills for ethics described in this chapter are imaginative skill, the ability to expand the reach of our empathy to include a wider range of people; assertive skill, the need to finally choose from among the competing values the ones we will embrace and live by; connective skill, that is, linking goodness with happiness—the kind of personal flourishing not available through fame and fortune; and narrative skill, which is our ability to tell true stories about ourselves and others. One key ingredient in narrative capacity is the ability to see that people intersect at different points at their life trajectories and with different moral concerns. The ethics of narration is the effort to tell truthful stories about these complex events.

Habilidad narrativa e identificación de valores y contravalores en dibujos animados por alumnado de Educación Primaria

Esta investigación analiza si la estructura (no narrativa o narrativa) que caracteriza a dibujos animados incide en la habilidad narrativa e identificación de valores y contravalores frente a factores personales (edad, curso educativo, sexo y nivel atencional) o contextuales (red e índice socioeconómico y cultural del centro educativo) del alumnado de Educación Primaria. Se ha contado con la participación de 186 estudiantes que han relatado el episodio visionado. El estudio tiene un diseño cuasiexperimental con metodología mixta (cuantitativa y cualitativa). Los resultados obtenidos mediante análisis de regresión confirman que la estructura incide en mayor grado que el resto de factores. Se concluye que conviene considerar el tipo de estructura de los contenidos audiovisuales, y no solo la potencialidad en valores o contravalores, tanto en investigaciones futuras como al diseñar e implementar intervenciones en el ámbito formal e informal. This research analyses whether the structure (non-narrative or narrative) that characterizes cartoons affects the narrative skill and identification of values and countervalues, as opposed to personal (age, school year, gender and attention level) or contextual (school network and socioeconomic and cultural index of the school) factors of Primary Education students. 186 students participated in it, who have reported on the episode watched. The study has a quasi-experimental design with blended methodology (quantitative and qualitative). The results obtained through regression analysis confirm that the structure has a greater effect than the rest of the factors. We conclude that it is advisable to consider the structure of audio-visual content, not just the potential values or countervalues, both in future research and in designing and implementing interventions in formal and informal settings.

PENINGKATAN KREATIVITAS DAN KEMAMPUAN MENULIS KARANGAN NARASI MELALUI PENERAPAN MODEL EXAMPLES NON EXAMPLES DENGAN MEDIA GAMBAR SERI

The research was aimed to improve students’ creativity and skill in writing narrative text in the Indonesia subject through Examples Non Examples with picture series aids. This classroom research consisted of two cycles. The object of the research was the fourth grader's students in SDN 3 Linggasari consisted of 35 students, 19 males, and 16 females. Each cycle consisted of 4 stages, planning, implementing, observation, and reflection. The instruments used to collect the data were test and observation sheet. To see the students’ work on the narrative text, they used a test paper of narrative at the end of the meeting. It showed that Examples Non-Examples with picture series aids could improve student’s creativity and narrative writing. It could be proven from the writing outcome it first and second cycle. In the first cycle, the level of achievement was 40% an in the second cycle was 89%. The students’ creativity was also improving from the first to the second cycle. In the first cycles, it showed 57% and 86% in the second cycle. It could be drawn that Examples Non-Examples method could improve students’ creativity and narrative skill for the fourth semester SD N 3 Linggasari.

“It’s Like I Said to So-and-So”: Everyday Storying

This chapter explores a story type as more of an activity than an object: the telling of ordinary stories, mainly personal experience narratives (PENs), in order to build relationships and community. While narrative skill may be enjoyed, artistry is secondary to connecting people to people and people to place through sharing conversation and information. Everyday storying practices, such as “How was your day?” conversation, joking, and project sagas are discussed and compared to other know genres such as “craik” and “chit-chat.” The chapter also presents a particular story subtype, the “touchstone story,” by which visitors to the island tell a story of personal connection with the island, fishery, town, or activity to establish relationship. Flipping the expected pattern in which the fishery family or crew is expected to be the authoritative narrative source, family and crew play the community stewardship role of being audience: affirming and incorporating visitors by listening.

NARRATIVE CAPACITY AND MORAL RESPONSIBILITY

My main aim in this essay is to argue that “narrative capacity” is a genuine feature of our mental lives and a skill that enables us to become full-fledged morally responsible agents. I approach the issue from the standpoint of reasons-responsiveness. Reasons-responsiveness theories center on the idea that moral responsibility requires sufficient sensitivity to reasons. I argue that our capacity to understand and tell stories has an important role to play in this sensitivity. Without such skill we would be cut off from the full range of reasons to which moral agents need access and/or we would be deficient in the ability to weigh the reasons that we recognize. After arguing for the relevance of narrative skill, I argue that understanding the connection between reasons-sensitivity and narrative confers additional benefits. It illuminates important psychological structures (sometimes said to be missing from reasons-responsive accounts) and helps to explain some cases of diminished blame.