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A.LETTER OF RECOMMENDATION
To Whom It May Concern:
I have known Alna Arnita since she first started at the State College for Islamic Studies (STAIN) Batusangkar. As her English language lecturer, I have been greatly impressing by her bachelor degree of competence in expressing herself both orally and in writing no doubt her ability as a communicator has been further developed by being on the executive committee of the Islamic society during her second years at the State College for Islamic Studies (STAIN) Batusangkar.
Although she is a fine a communicator, Alna has other, more important qualities. She is always cooperative and friendly, being willing to help other students in the class, yet also relating well to her lectures. As a student she has matured considerably during her time at the State College for Islamic Studies (STAIN) Batusangkar. She now fully appreciates the need to work hard and her attitude to her studies is commendable. She is very conscientious and puts all her efforts into whatever she is doing.
I know in her daily life, she has many useful activities to increase her ability as a student. She is a smart student and has high motivation on her study and has good planning to continue her life in the future.
From what I know of her. I belief Alna would make an excellent employee in view of her pleasant personality and her willingness to commit herself to the job-in-hand.
Dra. Suswati hendriani, M.Pd, M,Pd
Lecturer of English Department
STAIN Batusangkar
CURRICULUM VITAE
Full Name : Dewi Ostarina
Nick name : Tarina
Birthday : October 10, 1986
Address : Hamka Street 84 Jakarta Pusat
Marital status : Single
Phone : 085263160231
E-mail : dhewi_ostarin@.@yahoo.co.id
Education:
1990-1991 : Kindergarten
1991-1996 : Elementary School
1996-1998 : Junior High School
1998-2000 : Senior High School
2000-2004 : University of Australia
Qualification
1999 Chemistry
Biology
English as a First Language
Result Awaited
2004 Bachelor Degree in English Department Student in University of Australia.
Additional courses
2002 English Course in BCCA
Computer Course in Dynasty Computer
Personal experience
Ø Teacher in Senior Islamic High School 48 Jakarta
Ø Lecturer in University Gajah Mada Jogjakarta
Ø Manager in Mutiara Company
Ø Translator in Gading Company
Extracurricular activities
Ø Member of Senior Islamic High School Debate Team.
Ø Secretary of English Department Autralia Club.
Referent
1. Mrs. Marry Cameron 2. Mr. John smith
Senior English Lecturer in University Australia. Rector of university Australia
101086 040484
Telp. 3030060684 Telp. 103006060486
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LETTER OF RECOMMENDATION
To Whom It May Concern:
We hereby testify that Miss.Dewi Ostarina has been employed in Mutiara Company as a manager for two years.
Miss. Tarina joined our staff as a manager on October 10, 2006 it has continuously been her aim to improve her professional ability. She took evening course in BCCA English an a years ago become private manager, frequently handling English business independently in our Mutiara company. She was responsible for a managing business relation.
Miss. Tarina is creative, loyalty, honest and responsibility on her job. She is very conscientious and puts all her efforts into whatever she is doing. She is a hard working and have a well organize and have a high ambitious on her job.
From what I know of her. I belief Tarina would make an excellent employee in view of her pleasant personality and her willingness to commit herself to the job-in-hand. In taking leave of Miss. Tarina our company gratefully recognizes the help given and offers a wholehearted recommendation.
Andrew White
General Director of Mutiara Company
Australia
101086
Senior Islamic high School (MAN-2) Batusangkar
50 Jend. Sudirman Street Kubu Rajo Limokaum
Batusangkar 27213 Telp. (0752) 72654
18 April 2008
Mrs. Dra. Suswati, M.Pd, M.Pd.
1A Arai Pinang Street
Batusangkar 27213
Dear Mrs. Suswati.
I expect you are aware that the forthcoming series of Foreign Language (English and Arabic) debates for secondary school is due to commence on Monday 22 April.
In view of your past experience as a debater I should like to invite you to be an adjudicator for English debate on 28 April among secondary school in SUMBAR-RIAU-JAMBI. There is no doubt that the participants would benefit from your comments if you were also willing to sum up before enouncing the verdict.
Since recording of the debate commences at 8.00 p.m. you would need to be at Auditorium MAN 2 Batusangkar at 7.30 p.m. should you be unable to act as an adjudicator on the above date then could you suggest Monday in May when you are free? The series ends on the last Monday in May.
I do hope you will be able to adjudicator one of the debates, and I look forward to receiving confirmation of your willingness to do this.
Yours Sincerely
Alna Arnita
Head Master
http://iteslj.org/Techniques/Saricoban-Songs.html
Songs, Verse and Games for Teaching Grammar
Arif Saricoban & Esen Metin
arifs [at] hacettepe.edu.tr
Hacettepe University & Cankaya University (Ankara, Turkey)
arifs [at] hacettepe.edu.tr
Hacettepe University & Cankaya University (Ankara, Turkey)
Introduction
Grammar teaching has often been regarded as a structure based, formal activity. After the integration of several sources and techniques, which are mainly based on communicative activities, the teaching of grammar gained a new insight. In the teaching of grammar, technique-resource combinations are often modified to structure-discourse match and if well developed, they can be used effectively for all phases of a grammar lesson. In order to make a grammar lesson effective, beneficial, and interesting a teacher should use some well-developed and fascinating techniques in the classroom. In the present paper, the examples of such integrated sources and techniques -the use of songs, verse, games, and problem solving activities- will be clarified and several examples will be provided.
Using Songs and Verse
Songs
Since the meaning is an important device in teaching grammar, it is important to contextualize any grammar point. Songs are one of the most enchanting and culturally rich resources that can easily be used in language classrooms. Songs offer a change from routine classroom activities. They are precious resources to develop students abilities in listening, speaking, reading, and writing. They can also be used to teach a variety of language items such as sentence patterns, vocabulary, pronunciation, rhythm, adjectives, and adverbs. As stated by Lo and Fai Li (1998:8), learning English through songs also provides a non-threatening atmosphere for students, who usually are tense when speaking English in a formal classroom setting.
Songs also give new insights into the target culture. They are the means through which cultural themes are presented effectively. Since they provide authentic texts, they are motivating. Prosodic features of the language such as stress, rhythm, intonation are presented through songs, thus through using them the language which is cut up into a series of structural points becomes a whole again.
There are many advantages of using songs in the classroom. Through using contemporary popular songs, which are already familiar to teenagers, the teacher can meet the challenges of the teenage needs in the classroom. Since songs are highly memorable and motivating, in many forms they may constitute a powerful subculture with their own rituals. Furthermore, through using traditional folk songs the base of the learners knowledge of the target culture can be broadened. Correctly chosen, traditional folk songs have the dual motivating attack of pretty tunes and interesting stories, plus for many students- the added ingredient of novelty (Hill, 1999:29). Most songs, especially folk songs, follow a regularly repeated verse form, with rhyme, and have a series of other discourse features, which make them easy to follow.
In consequence, if selected properly and adopted carefully, a teacher should benefit from songs in all phases of teaching grammar. Songs may both be used for the presentation or the practice phase of the grammar lesson. They may encourage extensive and intensive listening, and inspire creativity and use of imagination in a relaxed classroom atmosphere. While selecting a song the teacher should take the age, interests of the learners and the language being used in the song into consideration. To enhance learner commitment, it is also beneficial to allow learners to take part in the selection of the songs.
Teaching Procedure
There are various ways of using songs in the classroom. The level of the students, the interests and the age of the learners, the grammar point to be studied, and the song itself have determinant roles on the procedure. Apart from them, it mainly depends on the creativity of the teacher.
For primary students, the best songs would be those that are either familiar to the children or those, though maybe not familiar, which have an international nature, such as Old MacDonald. Since there is not a strict teaching procedure, the teacher can mainly concentrate on what to teach rather than on how to teach. For instance, while teaching them individual letter sounds or spelling the words, the traditional camp song 'Bingo', or while teaching them counting 'Johnny Works with One Hammer' will be useful. In order to make the songs more meaningful and more enjoyable, motions can be added to the song which parallel the words of the song. Since most children enjoy singing fun and nonsensical lyrics, using easy children songs will be useful. Furthermore, choosing lively action songs through which they can dance or act while singing will ensure a lively atmosphere.
For teenagers or adults in the intermediate or advanced level, it is better to use more meaningful or popular songs, which not only review or introduce grammar points but also reflect cultural aspects. At the primary level of singing the song, the prosodic features of the language is emphasized. At the higher levels, where the practice of grammar points is at the foreground, songs can be used with several techniques. Some examples of these techniques are:
- Gap fills or close texts
- Focus questions
- True-false statements
- Put these lines into the correct sequence
- Dictation
- Add a final verse
- Circle the antonyms/synonyms of the given words
- Discuss
A teacher's selection of a technique or a set of techniques should be based on his or her objectives for the classroom. After deciding the grammar point to be studied, and the song and the techniques to be used, the teacher should prepare an effective lesson plan. Since songs are listening activities, it is advisable to present them as a listening lesson, but of course it is necessary to integrate all the skills in the process in order to achieve successful teaching.
When regarding a lesson plan, as a pre-listening activity, the theme, the title, or the history of the song can be discussed. By directing the students toward specific areas, problem vocabulary items can be picked up in advance. Before listening to the song, it is also beneficial to let the students know which grammar points should be studied. At this stage, pictures may also be used to introduce the theme of the song. In the listening stage, some of the techniques listed above can be used, but among them gap filling is the most widely used technique. Through such gaps, the vocabulary, grammar, or pronunciation are highlighted. This stage can be developed by the teacher according to the needs of the students and the grammar point to be studied.
In the follow-up, integrated skills can be used to complete the overall course structure. Since many songs are on themes for which it is easy to find related reading texts, it may lead the learner to read a text about the singer or the theme. Besides, many songs give a chance for a written reaction of some kind. Opinion questions may lead the learner to write about his own thoughts or reflections. Some songs deal with a theme that can be re-exploited through role plays. Acting may add enthusiasm to the learning process. Finally, some songs deal with themes, which can lead to guided discussion. By leading the students into a discussion, the grammar point could be practiced orally and, in a way, naturally.
Exploitation of songs for grammatical structures can be illustrated through several examples. For present tense 'Let It Be' by the Beatles, for past tense 'Yesterday' by the Beatles, for present progressive 'Sailing' by Rod Stewart, for present perfect 'Nothing Compares to You' by Sinead Occonor, for past perfect 'Last Night I Had...' by Simon and Garfunkel, for modals 'Blowing in the Wind' by Bob Dylan, and for conditionals 'El Condor Pasa' by Simon and Garfunkel can be used. However, it should be kept in mind that songs, which provide frequent repetitions, or tell a story, or provide comments about life, or introduce cultural themes are the effective ones, since they provide authentic and meaningful material.
As a consequence, the use of songs in language classrooms provides many advantages. They entertain and relax the learners while they are learning or practicing a structure, and they often eliminate the students negative attitude towards learning. Through providing authenticity and context they make the grammar points more understandable and easy. As language teachers, we can benefit from using songs, since our concern is to motivate the students and draw their utmost attention on the subject during teaching.
Poems
Poems, like songs, contextualize a grammar lesson effectively. Since poetry is often spoken, repeated, dealt with, and considered, it acts as an effective tool for practicing a specific grammatical structure. Through repeating and considering the poem, the grammatical structures become more deeply internalized. Thus, poetry not only provides a rewarding resource for structured practice of grammar, but also a proper basis for review. If a poem that exemplifies a particular structure is also a good poem, it engages the eye, the ear and the tongue simultaneously while also stimulating and moving us; this polymorphic effect makes poetry easier to memorize than other things for many students (Celce-Murcia and Hills, 1988:123).
Like songs, poems exaggerate the rhythmic nature of the language. Thus it is an important aspect to be taught, since English is a syllable timed language with stressed syllables being spoken at roughly equal time pauses, even in everyday speech. Similar to songs, poems have an enormous linguistic value as they provide authenticity and cultural views. A poem's capacity to comfort the reader or the listener also increases its effectiveness as a teaching resource. Once a poem or song has been learned, they stay in the minds of the students for the rest of their lives, with all the rhythms, grammatical features and vocabulary.
Poems may bring the use of creativity and the rhythm into the language classroom, though they may also bring some difficulties. Poems are not constructed in a simple way and syntactically they are at a higher level than prose, thus it might be very difficult for a foreign language learner to comprehend them completely. As stated by Povey (cited in Celce-Murcia and Hills, 1988) there are three main barriers for literature including poetry. They are linguistic, cultural, and intellectual barriers. Linguistic difficulties are the problems caused by the syntax or the lexicon of the poem. Cultural difficulties include imagery, tone, and allusion. At the intellectual level, the students should be intellectual and mature enough to understand the theme of the poem. These difficulties could be easily removed if the teacher provides a poem which is syntactically and thematically appropriate to the level, age and the interests of the students. Thus, by removing or minimizing the potential problems, poetry can provide an enormously rich, enjoyable and authentic context for foreign language learners.
In the selection of a poem, the teacher should first consider the grammatical structure to be presented, practiced, or reviewed, then the level and the age of the students, next the theme and the length of the poem and its appropriateness to the classroom objectives. It is advisable to select a poem from 20th century poets. As older poems often provide a more difficult lexicon and syntax, and as they reflect some old-fashioned ideas, it is more convenient to use contemporary poems than older ones. Poems, which reflect cultural themes, universal features, humanistic values, or emotional aspects, will be more relevant to the foreign language learners. Finally, through taking the classroom objectives into consideration, a teacher should effectively benefit from poems as teaching aids.
Teaching Procedure
At the teaching stage of a poem, it is not advisable to talk about the meaning of the poem in advance. Since they offer a reading and listening activity, poems could be presented through a reading plan. At the pre-reading stage, students might be motivated through some enthusiastic talks about poetry or the poet. Some necessary vocabulary can also be handled at this stage. At the reading stage, in order to create images and stress the prosodic features, the teacher may want the students to close their eyes while he/she is reading the poem. After the poem has been read at least twice, it is better to elicit the primary responses of the students about the poem. Next, after distributing the poem to students, students may be asked to read it either loudly or silently. In order to practice the determined grammar point, students may be asked to paraphrase the poem. Through transforming the verse into prose students get acquainted with the structure.
After easing the grammar and understanding the vocabulary, students get an idea about the theme of the poem. Reading the paraphrased poem reinforces the grammatical structure under consideration. Asking questions about context may follow the reading. Through asking Wh- questions, providing additional information about the culture, and asking students to share their experience with the subject matter, the cultural content of the poem becomes more real and vivid. Words, pictures, and shared experiences can eliminate the gap that is created by different cultures, as no one can deny that poems cannot always evoke the same sounds, sights, smells, and associations for both native speakers and foreign language learners. After discussing the surface content of the poem, students may again asked to close their eyes and visualize the poem while listening to it.
As a follow-up activity a discussion may be held. After reviewing the plot of the poem and providing adequate artful questions, the students will eventually discover the deeper meaning of the poem. As being a facilitator, a teacher should always avoid telling the meaning. After each student grasps his or her own meaning, it is proper to discuss the depth of the poem. In this procedure, the teacher's aim is to support the students in their attempts to understand the poem and make it relevant to their lives. Once they have understood it and perceived its relevance, they will have no objection to practicing the poem or even memorizing it, for it will have become special for them (Celce-Murcia and Hills, 1988:126). At the follow-up stage, providing the determined structure, students may also be asked to write a poem about anything they want. In such a procedure the four skills are effectively integrated to practice or present any grammar point.
Since every class is different, teachers should creativity determine the teaching procedure. It is not advisable to apply one procedure too strictly. A teacher should adopt the activities according to the needs of the learners. However, it might not be very useful to use poems for young students or for beginners. Instead of poems, using nursery rhymes or songs would be more helpful since they provide more joyful and easier contexts. From pre-intermediate to advanced levels, it is really beneficial to use either songs or poems. Several poems can be adopted from contemporary poem books. The poems of the W.H. Auden, Robert Frost, Stanley Kunitz, Delmore Schwartz, W.D. Snodgrass, Theodore Roethke, Gary Snyder, Richard Wilbur, and Robert Lowell, etc. are suggested for the language teachers who want to use poems in their grammar lessons.
Using Games and Problem-Solving Activities
The latest concern of the foreign language teachers is to make the students use the language communicatively. After the realization of communicative competence , activities or techniques that are task-oriented and that lead students to use the language creatively have gained importance. Games and problem-solving activities, which are task-based and have a purpose beyond the production of correct speech, are the examples of the most preferable communicative activities. Such activities highlight not only the competence but also the performance of the learner. Yet they are the indispensable parts of a grammar lesson, since they reinforce a form-discourse match. In such activities the attention is on the discourse context.
Both games and problem-solving activities have a goal. Games are organized according to rules, and they are enjoyable. Most games require choral responses or group works, whereas problem-solving activities (though they are structured) require individual response and creative solutions. Games and problem-solving activities are generally used after the presentation, in the practice part, because such communicative tasks can only be handled after mastering sufficient grammar and lexical points.
Through well-planned games, learners can practice and internalize vocabulary, grammar and structures extensively. Play and competition that are provided by games enhance the motivation of the students. They also reduce the stress in the classroom. While playing games, the learners attention is on the message, not on the language. In a way, students acquire language unconsciously since their whole attention is engaged by the activity. By providing personal, social, and cross-cultural issues to define, they sometimes simulate real life situations. Many grammar games can be found in teaching grammar or course books.
There is a great overlap between games and problem solving activities. Though games generally place an emphasis on competition and wining, they also require some type of problem-solving activity. Like games, problem-solving activities have communicative purposes. Questions which require students to use available evidence to reach a conclusion and the logic problems which assist language learning by challenging students to demonstrate their understanding of English in an interesting way are the types of problem-solving activities. In problem solving activities, the problems are either based on real or imaginary situations. In the activities students are given a real or an imagery situation, and they are expected to find solutions for the problems.
Games and problem solving activities can be used for all levels. By regarding the proficiency, age and experience of the learners, appropriate activities might be applied successfully. It is also important to design clear and easy directions for the games or the activities.
Through problem solving activities students utmost attention is to the detail and to the meaning. The solution part of the problem can be used to generate any specific grammar point. In such activities a teacher should act as a facilitator rather than a director. It is also possible to integrate all skills in such activities. Reading or listening to a situation, a problem, or a question; responding or commenting either through speaking or writing. It is also advisable to keep in mind that such activities provide entertaining opportunities to practice thinking clearly while focusing on the form unconsciously.
In sum, games and problem solving activities provide favorable usages for extended communicative practice of grammar. They are both motivating and challenging. They encourage students to interact and communicate. Through such activities students match the discourse with the context of the game or the problem solving activity. So these activities create a meaningful context for language use. The use of such activities both increases the cooperation and competition in the classroom. Thus, potential classroom ideas come into being, and a successful, joyful and enthusiastic learning is provided.
Conclusion
So far, the usage of songs, poems, games, and problem solving activities are clarified. The advantages and some key points are explained. It is now more apparent that the teaching of grammar can be supported effectively by using such resources. According to the needs analysis of a classroom, several techniques can be integrated with such resources. Since teaching is a developing art, which requires innovative and creative ideas to enrich its effectiveness, we must not hesitate to use such resources in our classrooms. These resources can assist our teaching of grammar while providing a relaxed atmosphere and motivated students. Such activities are student centered, hence, by using them we give a chance to our students to express themselves, enjoy themselves during learning, and use the reserves of their minds. As, it should be born in mind that all these resources require the activation of both left and right hemispheres. Thus, we let our students use their long-term memory and learn effectively during such activities. So there is an undeniable fact that if our concern is to provide a successful and beneficial teaching, we must not hesitate to use songs, poems, games, and problem solving activities, which bring the structural, pragmatic, prosodic and communicative aspects of language together, in our language classrooms.
Bibliography
- Celce-Murcia, M. & Hilles, S. (1988). Techniques and resources in teaching grammar. Oxford: Oxford University Press.
- Cross, D. (1992). A practical handbook of language teaching. G.B.: Prentice Hall.
- Eken, D.K. (1996). Ideas for using songs in the English language classroom. English Teaching FORUM, 34/1:46-47
- Graham, C. (1993). Grammar chants. Oxford: Oxford University Press
- Hill, D.A. (1999). Traditional folk songs in class. MET, 8/2:28-33
- Horner, D. (1993). Classroom ideas: songs and music. MET, 2/3:33-39
- Hutchinson, T. (1997). Lifelines: elementary- teachers book. Oxford: Oxford University Press.
- Hutchinson, T. (1999). Lifelines: pre-intermediate-teachers book. Oxford: Oxford University Press.
- Kim, L.S. (1995). Creative games for the language class. English Teaching FORUM, 33/1: 35-36
- Lo, R. & Fai Li,H.C. (1998). Songs enhance learner involvement. English Teaching FORUM, 36/3:8-11
- McKay, S.L. (1987). Teaching grammar. G.B.: Prentice Hall.
- Murphey, T. (1992). Music and song. Oxford: Oxford University Press.
- Rinvolucri, M. & Davis,P. (1995). More grammar games. Cambridge: Cambridge University Press.
- Towndrow, P. (1999). Logic problems and English language learning. MET, 8/1:34-37
http://iteslj.org/Techniques/Saricoban-Songs.html
http://www.sil.org/linguistics/GlossaryOfLinguisticTerms/WhatIsAMorphologicalProcess.htm
What is a morphological process? |
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| Definition | |
| | A morphological process is a means of changing a stem to adjust its meaning to fit its syntactic and communicational context. |
| Discussion | |
| | Most languages that are agglutinative in any way use suffixation. Some of these languages also use prefixation and infixation. Very few languages use only prefixation, and none employ only infixation or any of the other types of morphological processes listed below. |
| Kinds | |||
| | Here are some kinds of morphological processes: | ||
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http://en.wikipedia.org/wiki/Derivational_Morphology
Derivational Morphology
From Wikipedia, the free encyclopedia
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[edit] Introduction
Derivational morphology, changes the meaning of words by applying derivations. Derivation is the combination of a word stem with a morpheme, which forms a new word, which is often of a different class, for example, Develop becomes Development, Developmental or Redevelop.
The suffix -ation converts the verb nationialize, into the derived noun nationalization. The suffix -ize converts the noun plural, into the verb pluralize.
Nominalization is a common kind of derivation in English, and it involves forming new nouns from verbs or adjectives, by adding suffixes to them, for example:
| Suffix | Verb/Adjective | Derived Noun |
| -ness | happy (A) | happiness |
| -ee | employ (V) | employee |
Derivational Morphology can be quite complicated, as the classes of words that an affix apply to are not always clearcut, for example the suffix -ee cannot be added to all verbs, ie to add it to run (V) gives runee, which is clearly not an English word
http://www.ling.upenn.edu/courses/Fall_1998/ling001/morphology2.html
MORPHOLOGY II
More on various categories of morphemes
Prefixes and suffixes are by definition always bound, but what about the stems? Are they always free? In English, some stems that occur with negative prefixes are not free, such as -kempt and -sheveled.
Morphemes can also be divided into the two categories of content and function morphemes, a distinction that is conceptually distinct from the free-bound distinction but that partially overlaps with it in practice. The idea behind this distinction is that some morphemes express some general sort of content, in a way that is as independent as possible of the grammatical system of a particular language -- while other morphemes are heavily tied to a grammatical function, expressing syntactic relationships between units in a sentence, or obligatorily-marked categories such as number or tense.
Thus (the stems of) nouns, verbs, adjectives are typically content morphemes: "throw," "green," "Kim," and "sand" are all English content morphemes. Content morphemes are also often called "open-class" morphemes, because they belong to categories that are open to the invention of arbitrary new items. People are always making up or borrowing new morphemes in these categories.: "smurf," "nuke," "byte," "grok."
By contrast, prepositions ("to", "by"), articles ("the", "a"), pronouns ("she", "his"), and conjunctions are typically function morphemes, since they either serve to tie elements together grammatically ("hit by a truck," "Kim and Leslie," "Lee saw his dog"), or express obligatory (in a given language!) morphological features like definiteness ("she found a table" or "she found the table" but not "*she found table"). Function morphemes are also called "closed-class" morphemes, because they belong to categories that are essentially closed to invention or borrowing -- it is very difficult to add a new preposition, article or pronoun.
For years, some people have tried to introduce non-gendered pronouns into English, for instance "sie" (meaning either "he" or "she", but not "it"). This is much harder to do than to get people to adopt a new noun or verb.
Try making up a new article. For instance, we could try to borrow from the Manding languages an article (written /le/) that means something like "I'm focusing on this phrase as opposed to anything else I could have mentioned." We'll just slip in this new article after the definite or indefinite "the" or "a" -- that's where it goes in Manding, though the rest of the order is completely different. Thus we would say "Kim bought an apple at the-le fruit stand," meaning "it's the fruit stand (as opposed to anyplace else) where Kim bought an apple;" or "Kim bought an-le apple at the fruit stand," meaning "it's an apple (as opposed to any other kind of fruit) that Kim bought at the fruit stand."
This is a perfectly sensible kind of morpheme to have. However, the chances of persuading the rest of the English-speaking community to adopt it are negligible.
In some ways the open/closed terminology is clearer than content/function, since obviously function morphemes also always have some content!
The concept of the morpheme does not directly map onto the units of sound that represent morphemes in speech. To do this, linguists developed the concept of the allomorph. Here is the definition given in a well-known linguistic workbook:
Allomorphs: Nondistinctive realizations of a particular morpheme that have the same function and are phonetically similar. For example, the English plural morpheme can appear as [s] as in cats, [z] as in dogs, or ['z] as in churches. Each of these three pronunciations is said to be an allomorph of the same morpheme.
INFLECTIONAL VS. DERIVATIONAL MORPHOLOGY
Another important and perhaps universal distinction is the one between derivational and inflectional morphemes.
Derivational morphemes makes new words from old ones (Crystal, p. 90.) Thus creation is formed from create , but they are two separate words. Derivational morphemes generally:
1) Change the part of speech or the basic meaning of a word. Thus -ment added to a verb forms a noun (judg-ment). re-activate means "activate again."
2) Are not required by syntactic relations outside the word. Thus un-kind combines un- and kind into a single new word, but has no particular syntactic connections outside the word -- we can say he is unkind or he is kind or they are unkind or they are kind, depending on what we mean.
3) Are often not productive -- derivational morphemes can be selective about what they'll combine with, and may also have erratic effects on meaning. Thus the suffix -hood occurs with just a few nouns such as brother, neighbor, and knight, but not with most others. e.g., *friendhood, *daughterhood, or *candlehood. Furthermore "brotherhood" can mean "the state or relationship of being brothers," but "neighborhood" cannot mean "the state or relationship of being neighbors."
4) Typically occur between the stem and any inflectional affixes. Thus in governments,-ment, a derivational suffix, precedes -s, an inflectional suffix.
5) In English, may appear either as prefixes or suffixes: pre-arrange, arrange-ment.
Inflectional morphemes: vary (or "inflect") the form of words in order to express grammatical features, such as singular/plural or past/present tense. Thus Boy and boys, for example, are two different forms of the "same" word; the choice between them, singular vs. plural, is a matter of grammar and thus the business of inflectional morphology. (Crystal, p. 90.)
Inflectional Morphemes generally:
1) Do not change basic meaning or part of speech, e.g., big, bigg-er, bigg-est are all adjectives.
2) Express grammatically-required features or indicate relations between different words in the sentence. Thus in Lee love-s Kim: -s marks the 3rd person singular present form of the verb, and also relates it to the 3rd singular subject Lee.
3) Are productive. Inflectional morphemes typically combine freely with all members of some large class of morphemes, with predictable effects on usage/meaning. Thus the plural morpheme can be combined with nearly any noun, usually in the same form, and usually with the same effect on meaning.
4) Occur outside any derivational morphemes. Thus in ration-al-iz-ation-s the final -s is inflectional, and appears at the very end of the word, outside the derivational morphemes -al, -iz, -ation.
5) In English, are suffixes only.
Some English morphemes, by category:
| derivational | inflectional |
| -ation | -s Plural |
| -al | -s Possessive |
| -ize | -ed Past |
| -ic | -ing Progressive |
| -y | -er Comparative |
| -ous | -est Superlative |
HOW TO DESCRIBE AN AFFIX:
some examples from DERIVATIONAL morphology:
-ation
is added to a verb or root (finalize, anim-)
to give a noun (finalization, animation)
un- is added to a verb or root (finalize, anim-)
to give a noun (finalization, animation)
is added to a verb (tie)
to give a verb(untie)
un-
is added to an adjective (happy)
to give an adjective (unhappy)
-al
is added to a noun (institution)
to give an adjective (institutional)
-ize
is added to an adjective (concrete)
to give a verb (concretize)
What is the meaning of the affix?
The meanings of derivational affixes are sometimes clear, but often less clear because of changes that occur over time. The following two sets of examples show that the prefix un- is easily interpreted as a negative, but the prefix con- is more opaque.
| un- | untie |
| | undo |
| | unhappy |
| | untimely |
| | unthinkable |
| | unmentionable |
| con- | constitution |
| | confess |
| | connect |
| | contract |
| | contend |
| | conspire |
| | complete |
Are derivational affixes sensitive to the historical source of the roots they attach to?
Although English is a Germanic language, and most of its basic vocabulary derives from Old English, there is also a sizeable vocabulary that derives from Romance (Latin and French). Some English affixes, such as re-, attach freely to vocabulary from both sources.
| ROOT | tie | consider |
| | free form | free form |
| | Germanic root | Latinate root |
| SOURCE | Old English tygan, "to tie" | Latin considerare, "to examine" |
| PREFIX | retie | reconsider |
| SUFFIX | reties | reconsiders |
| | retying | reconsideration |
| | retyings | reconsiderations |
According to Hans Marchand, who wrote a book entitled The Categories and Types of Present-Day English Word Formation, (University of Alabama Press, 1969), the suffix -ize comes originally from the Greek -izo. Many words ending with this suffix passed from Ecclesiastical Greek into Latin, where, by the fourth century, they had become established as verbs with the ending -izare, such as barbarizare, catechizare, christianizare. In Old French we find many such verbs, belonging primarily to the ecclesistical sphere: baptiser (11th c.), canoniser (13th c.), exorciser (14th c.).
The first -ize words to be found in English are loans with both a French and Latin pattern such as baptize (1297), catechize, and organize (both 15th c.) Towards the end of the 16th century, however, we come across many new formations in English, such as bastardize, equalize, popularize, and womanize. The formal and semantic patterns were the same as those from the borrowed French and Latin forms, but owing to the renewed study of Greek, the educated had become more familiar with its vocabulary and used the patterns of Old Greek word formation freely.
Between 1580 and 1700, the disciplines of literature, medicine, natural science and theology introduced a great deal of new terminology into the language. Some of the terms still in use today include criticize, fertilize, humanize, naturalize, satirize, sterilize, and symbolize. The growth of science contributed vast numbers of -ize formations through the 19th century and into the 20th.
The -ize words collected by students in last year's course show that -ize is almost entirely restricted to Romance vocabulary, the only exceptions we found being womanize and winterize. Even though most contemporary English speakers are not aware of which words in their vocabulary are from which source, apparently, in coining new words, they have respected this distinction.
The major differences between derivational and inflectional morphology
| | derivational | inflectional |
| position | closer to stem | further from stem |
| addable on to? | yes | not in English |
| changes stem? | yes | no |
| productive? | (often) no | (usually) yes |
| meaning? | (often) unpredictable | predictable |
Constituent structure of morphemes
The constituent morphemes of a word can be organized into a hierarchical structure. Section 5.1 of Language Files illustrates this structure by means of tree diagrams.
To figure out how to draw the diagram, we need to see whether un- or -able can be attached directly to use. According to Language Files, "The prefix un-, meaning 'not', attaches only to adjectives and creates new words that are also adjectives. (Compare with unkind, unwise, and unhappy.) The suffix -able, on the other hand, attaches to verbs and forms words that are adjectives. (Compare with stoppable, doable, and washable.) Therefore, un- cannot attach to use, since use is a verb and not an adjective. However, if -able attaches first to the stem use, then it creates an adjective, usable, and the prefix un- is allowed to combine with it. Thus, the formation of the word unusable is a two-step process whereby use and -able attach first, then un- attaches to the word usable." Now let's consider the word unlockable. We can see that there are two different meanings for this word: the one corresponding to the left-hand figure, meaning "not lockable," and the one corresponding to the right-hand figure, meaning "able to be unlocked."
By making explicit the different possible hierarchies for a single word, we can better understand why its meaning might be ambiguous. And, in fact, un- can indeed attach to verbs: untie, unbutton, uncover, uncage, unwrap... Larry Horn (1988) points out that the verbs that permit prefixation with un- are those that effect a change in state in some object, the form with un- undoing (!) that change. And thus we can account for the two senses of unlockable: the sense derived from the suffix -able combining with the verb lockto form an adjective lockable and then the adjective combining with the prefix un- to form a new adjective unlockable, as in the lefthand tree above, vs. the sense derived from the prefix un- attaching to the verb lock to form a new verb unlock and then combining with the suffix -able to form an adjective unlockable, as in the righthand tree above.
http://en.wikibooks.org/wiki/Conlang/Intermediate/Grammar/Derivational_Morphology
Conlang/Intermediate/Grammar/Derivational Morphology
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Derivational morphology is about how more complex words are derived from simpler ones. Where inflectional morphology typically involves specific categories which words of a particular part of speech inflect for in a particular language, derivational morphology tends to be more miscellaneous, less easy to categorize, and less regular and predictable. However, we can describe some general tendencies.
First, we can distinguish compounding from affixing as means of deriving new words from roots. Compounding means putting two stand-alone root words together, as in English words like:
- "roommate" (noun + noun)
- "bluebird" (adjective + noun)
- "babysit" (noun + verb)
Note that in all these compound words, the second word determines the general kind of thing the compound refers to, and the first word makes it more specific. A roommate is a kind of mate, not a kind of room; a bluebird is a kind of bird, not a shade of the color blue; to babysit is to take care of (sit with) a baby (or other child), not to baby a sit (if that means anything). Because of this we say that compound words in English follow a modifier-head order: the modifier morpheme comes first, and then the head morpheme. Some other languages have head-modifier order.
Affixing means adding prefixes and/or suffixes (or in some languages, infixes that embed inside a root word) to change the meaning of a root in a more or less predictable way. Examples from English include:
- -er, -or: doer, worker, contractor, enabler
- un-: unable, unworthy, undo
- pre-: prefix, prepay, preauthorize
A special borderline case of compounding or affixing involves adpositions (prepositions or postpositions). English, Greek and Esperanto all make extensive use of prepositional compounds.
- English: overalls, in-crowd (nouns), upscale, with-it (adjectives), outdo, downsize (verbs)
- Esperanto: surtuto ("over-all": cloak; noun), eniri ("in-go", to enter; verb)
In some languages these means of deriving new words are more productive than in others. Languages like German and Esperanto give the individual speaker great freedom to coin new compounds and affixed words as needed, while languages like French are more restrictive, usually tending to use phrases for things German might coin a new compound for. English is somewhere in the middle of the spectrum. This may be partly a matter of culture as well as linguistic structure.
Letter of Thanks
1. Nature of thank letter
A thank you letter demonstrates thoughtfulness, which is a characteristic many employers and people value. So few take the time to write a thank you letter, someone will indeed be remembered.
There are various times when writing thank of you letter is appropriate. For example: anything from a formal, after interview thank you letter to a causal, from the heart thanks to the person you love or appreciate.
2. Principles of thank letter
- It’s appropriate
- Write it promptly
- Remind the recipient
- Short and directly
- Personalized it.
- Check spelling and grammar
- Send your letter within two days of interview
- Hand-written are the best
3. Table
| Address | 95 Sudirman Street Batusangkar, 27593 |
| Date | April 29, 2009 |
| Return address | Mr. Harianto, Assistant PT. Harapan Maju 25 A. Yani Street, 35674 |
| Greeting | Dear Mr. Harianto: |
| Body | I want to thank for interviewing me on Monday, April 27, 2009 for the position as Secretary in your company. I was very impress with your company. I am very exited if your company will receive me. My qualifications are good match after we discussed and I have interest in this area of work. My experience specifically, you have good interpersonal skills. You would certainly enable me to make contribution to the PT. Harapan Maju. |
| Last Paragraph | Again, thank you for the interview and consideration. I am eager to have opportunity of working on your staff. I look forward to hearing from you. Please call me at 085274753090 if you have any questions. |
| Close | Yours sincerely, Martina Martina |
4. Sample
95 Sudirman Street
Batusangkar, 27593
April 29, 2009
Mr. Harianto, Assistant
PT. Harapan Maju
25 A. Yani Street, 35674
Dear Mr. Harianto:
I want to thank for interviewing me on Monday, April 27, 2009 for the position as Secretary in your company. I was very impress with your company. I am very happy to join with your company.
My qualifications are good interview after we discussed and I have interest in this area of work. My experience specifically, you have good interpersonal skills. You would certainly enable me to make contribution to the PT. Harapan Maju.
Again, thank you for the interview and consideration. I am eager to have opportunity of working on your staff. I look forward to hearing from you. Please call me at 085274753090 if you have any questions.
Yours sincerely,
Martina
Martina
| Name: Dewi Ostarina Nim : 205 135 Prodi : TBI-A Date : June 13, 2008 |
- SAMPLE OF MEMORANDUM
|
- SAMPLE OF TELEX
|
- SAMPLE OF FAX
|
NAME : DESI YULFIANA
NIM : 205132
PRODI : TBI A
LETTER OF RECOMMENDATION
To Whom It May Concern:
I have known Desi Yulfiana since she first started at the University of Padang. As her English language lecturer, I have been greatly impressing by her bachelor degree of competence in expressing herself both orally and in writing no doubt her ability as a communicator has been further developed by being on the executive committee of the Islamic society during her second years at the University of Padang
Although she is a fine a communicator, Desi has other, more important qualities. She is always cooperative and friendly, being willing to help other students in the class, yet also relating well to her lectures. As a student she has matured considerably during her time at the University of Padang. She now fully appreciates the need to work hard and her attitude to her studies is commendable. She is very conscientious and puts all her efforts into whatever she is doing.
From what I know of her. I belief Desi would make an excellent employee in view of her pleasant personality and her willingness to commit herself to the job-in-hand.
Sadam Husein
Rector of University of Padang
Padang
| Dewi Ostarina 205 135 TBI-A English Correspondence May 30, 2008 |
Sudirman Street 97
Kuburajo Limakaum
Batusangkar
May 30, 2008
The manager of ASTON Bandung Hotel and Residence
Jl. Braga no. 99-101
Bandung 40111
Dear sir,
I have seen your advertisement in kompas/klasika on May 15, 2008. my family and I will be coming to Bandung on June 10, 2008 and require six nights’ accommodation during our holiday.
Would you please reserve to school holiday package (2 badroom apartment) for my family and I to June 10-June 17. 2008.
Would be grateful if you could confirm this booking by return of my hand phone.
Yours faithfully
Dewi Ostarina
SUPER PRODUCTS
Soekarno Hatta Street 1986
Batusangkar
Telp : (0752) 71133
Fax : (0752) 72332
May 30, 2008
The Manager
Artline Stationers
Sudirman Street
Batusangkar
Dear, Mr. Ifwendry
We thank you for your letter of may 14, 2008 but feel sorry that you find our quotations for clips, computer and ring files on the higher side. We may again assure you that they are quite reasonable so as to allow you ample profit margins. Therefore, we cannot allow only additional discount to our usual rate of 28%. If concede to your request then there would be hardly left any profit for us.
Despite the cost-rise in inputs, power rates and labour charges, we have kept our prices to the same level over two years. But soon we are thinking of on upward revision in our prices in view of the above mentioned factors. In fact, our prices are on lower side and very competitive.
You have been our long and trusted customer and we would have not liked to refuse some additional discount, but in the prevailing circumstances, it is well high impossible for us. We think you appreciate our position. We hope you will reconsider the matter and send your order to supply you the goods at the price we have quoted.
We look forward to your early reply and order.
Yours faithfully
Dewi Ostarina
B. CURRICULUM VITAE
CURRICULUM VITAE
Name : Alna Arnita
Birthday : July 26, 1987
Address : Koto Baru Dharmasraya
Marital status : Single
Phone : 081363188009
Education
1991-1992 : Pertiwi Kindergarten
1992-1997 : Citra Elementary School
1997-1999 : Harapan Junior High School
1999-2001 : Harapan Senior High School
2001-2005 : Oxford University London
Qualification
2000 English Debate International
Translate English to Indonesia
Chemistry Olympiad
Result Awaited
2005 Post Graduate in English Department in Oxford University London.
Additional Courses
2002 English Course in Language Center London
Translate Course in Master Language
Personal Experience
- Teacher in Secondary School in London
- Lecturer in University of Malang
- Manager of Language Centre Jakarta
- Translator
Extra-curricular activities
- Member of Debate Team.
- Manager of English interpreter
Referent
1. Mrs. Georgina 2. Mr. Abraham Lincoln
Secretary of Oxford university General Manager of Language center
236578 77887
Telp. 5874126 Telp. 15421689
CURRICULUM VITAE
Name : Desi Yulfiana
Birthday : Desember 4, 1985
Address : Sungai Aur Pasaman Barat
Marital status : Single
Phone : 081363309120
Education
1990-1991 : Kindergarten
1991-1996 : Elementary School
1996-1998 : Junior High School
1998-2000 : Senior High School
2000-2004 : University of Padang
Qualification
2001 English Speech Contest International
Result Awaited
2006 Bachelor Degree University of Padang
Personal Experience
Teacher in Secondary School in Padang for two years
Referent
1. Mrs. Rani 2. Mr. Ahmad Rifa’i
Lecturer of English Department Rector University of Padang
236578 77887
Telp. 5874126 Telp. 15421689
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The Doctor's Letter of Condolence
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In response to an article on grief, one of us received the following letter (the names have been changed):
Dear Doctor,
On August 3, my mother, Jean Smith, died. She had been a patient at the Medical Center with Dr. Roberts. Until her death, at 90, she was an active person, involved with her family and the world — driving, going to yoga class. She died suddenly, in her sleep. We are all bereft.
75 Sudirman Street
Batusangkar
17 March 2008
Several weeks after her death, I wrote to Dr. Roberts to tell him that she had died. I told him how very much I appreciated his care, his conscientious medical attention as well as his reassurance when she was anxious and worried about her health.
I have never gotten a response from him or from anyone else at the Medical Center. I find this very disappointing, and it has troubled me a great deal. I thought you should know this.
Sincerely,
Della Yeni
A physician's responsibility for the care of a patient does not end when the patient dies. There is one final responsibility — to help the bereaved family members. A letter of condolence can contribute to the healing of a bereaved family and help achieve closure in the relationship between the physician and the patient's family.
Most doctors do not write a letter of condolence after a patient dies,1 even though they know such a letter can help both the family and the doctor deal with the loss. There are many reasons for the failure to write letters of condolence. As one colleague commented, "Doctors are just too busy." The physician may feel that he or she did not know the patient well enough to write a genuine letter of condolence, or the physician may be part of a clinical team, and the responsibility for writing the letter may not be clearly assigned to one member of the team. A doctor who has not seen a patient for some time may hesitate to write to the family. In addition, writing condolence letters requires that doctors overcome their own sense of loss or failure.2,3 Finally, it is hard to know what to say when someone dies.
Cultural Changes in Mourning
In 19th century America, the process of grieving was detailed and elaborate.4,5,6 The doctor's letter of condolence was an accepted responsibility and an important part of the support offered to the bereaved. Dr. James Jackson's letter of 1892 to Mrs. Louisa Higginson shows the level of detail that was characteristic of physicians' condolence letters in the 19th century.7
My Dear Friend,
I need not tell you how much I have sympathized with you. I think I realize in some measure how much you will miss dear Aunt Nancy for a long time — for the rest of your life. I know that she has been a part of you. . . . Mind as well as body was duly exercised, and she always had stock from which she poured out stores for the delight of her friends, — stores of wit and wisdom, affording pleasure with profit to all around her.
How constantly will the events of life recall her to our minds — realizing what she said or did under interesting and important circumstances — or perhaps suggesting imperfectly what she would have said under new and unexpected occurrences.
For you my dear friend I implore God's blessing.
Your old friend,
J. Jackson
Today, the pattern of mourning has changed. Despite a resurgence of interest in achieving "the good death,"8 we often neglect those who are bereft after the death of a relative or friend. In fact, over the past century, the accepted process and rituals of mourning have become much abbreviated. As Margaret Mead wrote, "Mourning has become unfashionable in the United States. The bereaved are supposed to pull themselves together as quickly as possible and to reweave the torn fabric of life. We do not allow for the weeks and months during which a loss is realized."9 With less support offered to the family, grief may become more complicated and prolonged.10
The doctor's role at the time of mourning has also become more distant and less supportive. Physicians are not trained to support a bereaved family. A recent review of the 50 top-selling medical textbooks showed that there was "a paucity of attention . . . to the domain of physician responsibilities after death."11 As Therese Rando notes, "Professionals tend, as does the general public, to have inappropriate expectations and unrealistic attitudes about grief and mourning."12 For a variety of reasons, doctors infrequently attend the funerals of their patients.1,13 Writing a letter of condolence after a patient's death, once an accepted practice among clinicians, is now often omitted as well.
The Letter of Condolence
The family of a seriously ill patient depends on the doctor's experience and judgment in dealing with the illness. After the patient has died, the family may depend on the doctor's experience with grief and on his or her words of comfort. A letter of condolence from the doctor may thus have special meaning for a family in mourning.
A letter of condolence allows the doctor to express his or her sympathy for a family's loss, and it helps the family as they move through the natural phases of grief. A letter that addresses the reality of death aids the family in accepting "the discomfort of bereavement"14 and affirms the importance of the relationship between the deceased person and the doctor.
Especially in the case of a death that is unexpected or comes after complications from hospitalization or a procedure, the letter of condolence helps the family members manage the anger that accompanies their loss. The emergency department at one hospital initiated a program in which the staff member who had been responsible for the care of a deceased patient sent a sympathy card to the family. The response from the families was very positive.15 The absence of a letter of condolence may arouse disappointment, as expressed by Margaret Smith, or even suspicion, as in the case of a bereaved daughter who said, "After my mom died, the doctor never even wrote me. He ran and hid."
Although not often discussed openly, writing a letter of condolence may, according to Susan Block, help relieve the physician's burden of "grief and distress about the loss"16 of a patient. The physician, like the patient's family, needs to have a sense of closure about the death.
In addition to the benefits for the family and the physician, writing a letter of condolence provides a model of "humanistic behavior"17 for nurses, office staff, and residents. Throughout George Thorn's tenure as physician-in-chief at Peter Bent Brigham Hospital in Boston, it was the responsibility of residents to write letters of condolence. Although this practice has not continued, some physicians still use teaching rounds to emphasize the importance of the condolence letter. In our practice, we discuss the letter of condolence during mortality conferences. We encourage all physicians, house staff, and fellows who have had personal contact with the deceased patient to write the family. Unlike expressions of condolence made by telephone or in person, a letter of condolence is a concrete gift that the recipient can and will review over and over.
Suggestions for Writing a Condolence Letter
There are ways to make the difficult task of writing a condolence letter easier. The letter may describe in detail the extent and depth of the relationship between the physician and the patient, or it may be a much shorter expression of sympathy. Whatever one writes, it is important to avoid superficial attempts to assuage grief, such as, "It was meant to be" or "I know how you feel." In order to avoid issues of legal liability, the letter should focus on the sadness of death rather than revisit the clinical details of the illness.18
One can begin the letter with a direct expression of sorrow about the death, such as "I am writing to send you my condolences on the death of your husband." In our condolence letters, we try to include a personal memory of the patient and something about the patient's family or work. Specific references to achievement at work, devotion to family, courage during the illness, or the patient's character can bring life to the letter. We also state that it was a privilege to have participated in the patient's care. We point out the comfort the patient received from the family's love. We conclude the letter with a few words of support to let the family know our thoughts are with them. These suggestions are intended not as a substitute for the expression of genuine thoughts and feelings but as an aid in approaching the task.
Conclusions
The letter of condolence is a professional responsibility of the past that is worth reviving. It can have a positive effect on the grief that family members experience and can help them face the future. The letter may be of considerable importance, as one family member suggested: "If the physician does reach out to the bereaved family, not only is comfort felt in sharing the enormous loss, but there is a positive feeling generated toward the physician. This influences all future contacts, not only with that doctor, but all doctors."
Failure to write a letter of condolence is more than a simple omission. Whether intentional or not, the failure to communicate with family members conveys a lack of concern about their loss.19 In a medical world shaped by technological advances in the care of patients, we must maintain our humanity in our interactions with patients and their families, particularly when we share with them some of the most profound moments of life and death. After a patient dies, when we all feel helpless, the best care we can provide is our expression of concern and sympathy in a letter of condolence.
Susanna E. Bedell, M.D.
Lown Cardiovascular Center
Brookline, MA 02446
Karen Cadenhead, Ed.D.
Concord, MA 01742
Thomas B. Graboys, M.D.
Lown Cardiovascular Center
Brookline, MA 02446
Supported by a grant from the Lown Cardiovascular Research Foundation.
References
- Tolle SW, Elliot DL, Hickam DH. Physician attitudes and practices at the time of patient death. Arch Intern Med 1984;144:2389-2391. [CrossRef][ISI][Medline]
- Seravalli EP. The dying patient, the physician, and the fear of death. N Engl J Med 1988;319:1728-1730. [ISI][Medline]
- Tolle SW, Girard DE. The physician's role in the events surrounding patient death. Arch Intern Med 1983;143:1447-1449. [CrossRef][ISI][Medline]
- Schorsch A. Mourning becomes America: mourning art in the new nation. New Jersey: Main Street Press, 1976.
- Webb M. The good death: the new American search to reshape the end of life. New York: Bantam Books, 1997.
- Mead M, Metraux R. A way of seeing: the new beacon book of quotations by women. Boston: Beacon Press, 1996:381.
- Rabow MW, Hardie GE, Fair JM, McPhee SJ. End-of-life care content in 50 textbooks from multiple specialties. JAMA 2000;283:771-778. [Free Full Text]
- Rando TA. The increasing prevalence of complicated mourning: the onslaught is just beginning. Omega J Death Dying 1992–1993;26:43-59.
- Schmidt TA, Tolle SW. Emergency physicians' responses to families following patient death. Ann Emerg Med 1990;19:125-128. [CrossRef][Medline]
- Lindemann E. Symptomatology and management of acute grief. Am J Psychiatry 1944;101:141-148. [Free Full Text]
- Moseley JR, Logan SJ, Tolle SW, Bentley JH. Developing a bereavement program in a university hospital setting. Oncol Nurs Forum 1988;15:151-155. [Medline]
- Tolle SW, Cooney TG, Hickam DH. A program to teach residents humanistic skills for notifying survivors of a patient's death. Acad Med 1989;64:505-506. [ISI][Medline]
- Schlant E. The language of silence: West German literature and the Holocaust. New York: Routledge, 1999.
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- Lanken, P. N., Terry, P. B., DeLisser, H. M., Fahy, B. F., Hansen-Flaschen, J., Heffner, J. E., Levy, M., Mularski, R. A., Osborne, M. L., Prendergast, T. J., Rocker, G., Sibbald, W. J., Wilfond, B., Yankaskas, J. R., on behalf of the ATS End-of-Life Care Task Force, (2008). An Official American Thoracic Society Clinical Policy Statement: Palliative Care for Patients with Respiratory Diseases and Critical Illnesses. Am. J. Respir. Crit. Care Med. 177: 912-927 [Full Text]
- Schapira, L. (2008). Communication at the End of Life. J Oncol Pract 4: 54-54 [Full Text]
- Kane, G. C. (2007). A Dying Art?: The Doctor's Letter of Condolence. Chest 131: 1245-1247 [Full Text]
- Back, A. L., Arnold, R. M., Tulsky, J. A., Baile, W. F., Fryer-Edwards, K. A. (2005). On Saying Goodbye: Acknowledging the End of the Patient-Physician Relationship with Patients Who Are Near Death. ANN INTERN MED 142: 682-685 [Full Text]
- Rabow, M. W., Hauser, J. M., Adams, J. (2004). Supporting Family Caregivers at the End of Life: "They Don't Know What They Don't Know". JAMA 291: 483-491 [Abstract] [Full Text]
- Lerner, A., Berger, R. E., Harrod, C. S., Block, S. L., Hickerson, K. A., Hyla, J. F., Bedell, S. E., Cadenhead, K., Graboys, T. B. (2001). Letters of Condolence. NEJM 345: 374-375 [Full Text]
| HOME | SUBSCRIBE | SEARCH | CURRENT ISSUE | PAST ISSUES | COLLECTIONS | PRIVACY | HELP | beta.nejm.org Comments and questions? Please contact us. The New England Journal of Medicine is owned, published, and copyrighted © 2008 Massachusetts Medical Society. All rights reserved. |
http://dying.about.com/od/lossgrief/ht/howto_note.htm
How To Write a Sympathy or Condolence Letter
From About.com
About.com Health's Disease and Condition content is reviewed by V.K. Gadi, MD
The death of a loved one is a difficult time. A well-written condolence letter can help ease the sorrow. In the letter you can send your sympathy and compassion to the grieving person as a reminder of supportive friends and/or family.
Difficulty: Average
Time Required: 30 - 60 minutes, depending on revisions
Here's How:
1. Acknowledge the loss and the name of the deceased.
Example: Dear ______,
I was saddened to hear the news about the death of your father, _________.
2. Express your sympathy.
Example: Our thoughts are with you and your loved ones during this difficult time of loss.
3. Note special qualities of the deceased.
Example: I enjoyed getting a chance to meet your father, _________ during his visit to California. He seemed to be quite a character.
4. Include a memory of the deceased.
Example: I remember one time when we all went for the outing with the children. He seemed to be enjoying the outing with all of the children very much. What a beautiful day for a walk.
Sponsored Links
5. Remind the bereaved of their personal strengths or special qualities.
Example: I know that your great strength, family and friends will help you at this time of loss.
6. Offer help, but make sure it is a specific offer.
Example: I will call you in a few days to see if you need help with watching the children or with the memorial service.
7. End the letter with a thoughtful word, an inspirational quote, a hope, a wish or expression of sympathy such as "You are in my thoughts and prayers."
Example: Remember that "Those who live in the hearts of others never die."
Keeping you in my thoughts during this difficult time,
(Your Signature) __________
http://www.ambafrance-uk.org/Death-of-Pope-John-Paul-II-Letter.html
Death of Pope John Paul II - Letter of condolence from M. Michel Barnier, Minister of Foreign Affairs, to His Excellency Giovanni Lajolo, Secretary for Relations with States at the Holy See
Death of Pope John Paul II - Letter of condolence from M. Michel Barnier, Minister of Foreign Affairs, to His Excellency Giovanni Lajolo, Secretary for Relations with States at the Holy SeeParis, 3 April 2005
Your Excellency,
It was with great sorrow that I learned of the death which has shaken the Catholic Church and the world.
France, to whom His Holiness John Paul II was so attached and where he paid many pastoral visits, is deeply saddened by the death of this towering figure of our time who, throughout his pontificate, called on every continent for peace and respect for mankind, and waged a tireless battle against injustice and for dialogue between religions. He will also remain for us all one of the pioneers of European reunification.
I want to pay tribute to the Holy Father’s exemplary courage in the face of the sickness to which he has just succumbed.
In these extremely painful circumstances, I ask Your Excellency to accept my heartfelt condolences./.
Your Excellency,
Definition of a Memo
A memo is a document typically used for communication within a company. memos can be as formal as a business letter and used to present a report.
However, the heading and overall tone make a memo different from a business letter. Because you generally send memos to co-workers and colleagues, you do not have to include a formal salutation or closing remark.
Purpose of a Memo
Usually you write memos to inform readers of specific information. You might also write a memo to persuade others to take action, give feedback on an issue, or react to a situation. However, most memos communicate basic information, such as meeting times or due dates.
While memos are a convenient channel to communicate, it is always necessary to determine if a meeting is more appropriate. For example, pretend your team needs to make a very important financial decision. A memo can ask for that information from team members and request a response by a specific date.
By meeting with everyone, however, you not only get to hear final decisions but the rationale behind them. In fact, new ideas may stem from face-to-face discussions. By writing a memo in this scenario, you may never invent alternative ways of solving the problem.
Before writing a memo, outline what what your purpose is for doing so, and decide if the memo is the best communication channel.
Common Types of Memos
Each memo is written for a specific purpose to a specific audience. The purpose and audience for your memo will help guide what type of memo you will write.
Even though no two memos are identifcal, four common broad categories exist. If you are unsure about how to format your memo, ask your instructor or review memos your co-workers have written.
Directive Memo
A directive memo states a policy or procedure you want the reader or co-worker to follow. The length of the memo depends on how much space is required to properly explain the procedure.
The body of the memo should begin with a clear, concise sentence that states the purpose of the memo. For example:
"The purpose of this memo is to let all members of the ABC department know that doughnuts will be provided every Friday morning at 8 a.m."
You then provide statements that explain the rationale for such a decision or procedure.
MEMORANDUM
| TO: | Design Team #362 |
| FROM: | W.B. Working |
| DATE: | May 27, 1997 |
| SUBJECT: | Project Schedule |
As a result of yesterday's meeting, I suggest we follow the project schedule listed below. Remember, we must submit a Proposal by noon on July 2.
Schedule
| Task | Completion Date |
| · Divide research into groups and compile information | · June 6 |
| · Review designs from Kate and Bill. | · June11 |
| · Write Proposal | · June 23 |
| · Review Proposal | · June 26 |
| · Submit Proposal for printing | · June 27 |
Response Memo
The purpose of this memo is to provide the audience with desired information. It usually has four parts:
- purpose statement
- summary
- discussion
- action
Begin this memo with a short paragraph stating the purpose, which is always to respond to a request for information. Next, summarize the information requested.
Third, in a discussion section, point out to the reader any important information that you feel should be highlighted or stressed.
Finally, in the action section, state any additional action you are going to take or feel should be taken to properly address the original request for information.
Example Response Memo
MEMORANDUM
| TO: | Design Team #362 |
| FROM: | W.B. Working |
| DATE: | May 27, 1997 |
| SUBJECT: | Project Schedule |
| Purpose: | This memo responds to your request that the weekly meeting be moved from 9am to 10am. |
| Summary: | 1. This request is satisfactory as long as it is approved by management. |
| Discussion: | 1. Management usually has no problem with the individual time changes in meetings, as long as meeting minutes are turned in by noon to Cathy. |
| Action: | I have asked Cathy if she thinks this would be a problem and she said no, so all we need to do now is get approval from Steve. |
Trip Report Memo
A trip report memo is usually sent to a supervisor after an employee returns from a business venture. The structure is listed below:
- purpose statement
- summary
- discussion
- action
Begin this memo with a short paragraph stating the purpose, which is always to provide information on your trip.
Next, summarize the trip. Remember, the reader is usually not interested in a detailed minute by minute account of what happened. Instead, take the time to write a clear and concise outline of your trip.
Third, in a discussion section, point out to the reader any important information that you feel should be highlighted or stressed.
Finally, in the action section, state any additional relevant information you have come across since returning from the trip or any recommendations you might have for the reader.
Example Trip Report Memo
MEMORANDUM
| TO: | Design Team #362 |
| FROM: | W.B. Working |
| DATE: | June 27, 1997 |
| SUBJECT: | Weekly Meeting |
| Purpose: | This memo presents my impressions of the meeting last week. |
| Summary: | In general, I felt that the meeting went well and much progress was made. |
| Discussion: | Barb and Jeff were able to make progress on the graphics and should have them finished next week. Kyle and Sandy are on Chapter 2 of the user manual. |
| Recommendation: | Kyle will meet with Jeff to see how they want the graphics integrated into the text. |
Field Report Memo
Memos are often used to report on inspection and procedures. These memos, known as field or lab reports, include the problem, methods, results, and conclusions, but spend less time on the methods section.
A field or lab report memo has the following structure:
- purpose of memo
- summary
- problem leading to the decision to perform the procedure
- methods
- results
- conclusions
- recommendations
MEMORANDUM
| TO: | Dean of Journalism |
| FROM: | Steve Nash |
| DATE: | June 27, 1999 |
| SUBJECT: | Computer Lab |
| Purpose: | This memo presents my the findings of my visit to the computer lab at Clark C252. |
| Summary: | In general, I felt that the lab needs much new equipment and renovation. |
| Problem: | The inspection was designed to determine if the present equipment was adequate to provide graduate students with the technology needed to perform the tasks expected of them by their professors and thesis research. |
| Methods: | I ran a series of tasks on SPSS and WordPerfect and recorded memory capacity and processing time for each task. |
| Results: | The inspection found that the hardware used to run the computers is outdated and that the computers itself are very slow. |
| Conclusions: | This lab is inadequate for the everyday needs of graduate students in this department. |
| Recommendations: | Four new computers running on Windows98 and a processing speed of at least 233mhz should be purchased immediately. |
Introduction Letter.
CV.LONDON BRIDGE
45 Halminton Road
England
April 03, 2009
Mr. Hardoe
CV. Hollywood Stone
185. Bermengham Road
Sydney
Dear Mr. Hardoe,
A friend of mine, Mr. Mark would very much like to meet you. He is a director of CV. Hollywood Stone, Sydney. Meanwhile, he is a making a business one of company an Ambassador in Sydney.
You were kind enough when you were here to offer me your member of Director of CV. Hollywood Stone, I would very much appreciate it is you could find time to see Mr. Mark or to give him an introduction to someone on your staff. Thank you.
Your sincerely
Della Yeni
Congratulation Letter
Congratulation on success in post graduate State College for Islamic Studies (STAIN)
87, Lima Kaum
Batusangkar
April 03, 2009
Dear Mecky,
Kindly accept my hearties congratulations on grand success in the post graduate in State College for Islamic Studies (STAIN) as a master of education especially in English. It really makes me proud of you.
It is the culmination of your hard labor and sincere efforts. How long you deserve it? But, at least it is in your pocket!
Moreover, Iam sure that person like you with courage of conviction will go a far a head.
Once again my sincere congratulations and best wishes for the future
Your sincerely
Della Yeni
TRADITIONAL SELF-DEFENS (SILAT KUMANGO AND CONTEPORARY DANCE IN KUMANGO)
A. INTRODUCTION
The school of traditional self-defense or usually called silat in Tanah Datar Regency, West Sumatra, Indonesia, has developed until now. Some of the school are: Silat Komasngo, Silat Tuo, Silat Sungai Patai, Silat Lintau and many others.
Each school had the amount of basic movement or steps that must be mastered by a fighter or the member of the school. The combination of movements is used to show the artof traditional self-defense and to beautify the steps of movement ( kembangan ). The function of kembangan is to refine and improvise the movements so that if we see the fighter is showing his movements, its looks attractive and beautiful. Each chool of traditional self-defense has its own weapon of self defense as its characteristics. They are knife, clublike weapon, trident and others.
B. DISCUSSION
Traditional self-defense
The creator of movement self –defense is Syekh Abdurreahman Alkalidi(Syekh Kumango). His nickname is Alam Basifat. He was born in Nagari Kumango, Sungai Tarab Subdistrict, Tanah Datar Regency, West Sumatra, Indonesia. His ethnic is Piliang Sani, the ethnic of Marajo Indo. His father is Khatib Alam, and his mother I Reno Urai. He is the eldest son in his family. When he was ixteen years old, he learnt how to read Al-Qur’an to a teacher namely Syekh Abdurrahman in Batuhampar, Payakumbuh. Alam feels the need was broaden his knowledge of Islam fo 25 years.
He creates the steps in Silat Kumango. He has many students inside and outside Indonesia. He teaches his skills to his tudents nor for the pride, but it is for the wisdow of spiritual. Beside as village chief, he is also a master of Minangkabau culture. In developing his school, he uses a philosophy, musuah indak dicari, bilo tibo musuah dielak’an. (We do not look for an enemy, but if he comes, we cannot avoid him).
The son of Syekh Kumango is Samsarif Malin Marajo. He is introduced Silat Kumango in National Sport Competition II in 1952. he is known in all over the world. Syekh Abdurrahman Alkalidi (Syekh Kumango) was born is 1 and did in 1932. the others nor written by Ismail Rahman, the youngest dson of Syekh Kumango that Syekh Kumango died in 1792. the other works of Syekh Kumango are; surau, tabek (a pool to treat insane peoples) and the grave of Syekh Kumango is located in Nagari Kumango, Sungai Tarab Subdistrict, Tanah Datar Regency, West Sumatra, Indonesia.
The school of Traditional self-defense or usually called silat in Tanah DatarRegency, west Sumatra, Indonesia, has developed until now. Some of the school are; Silat kumango, silat tuo, silat sungai patai, silat lintau and many others.
Each school had the amount of basis movements or steps taht must be mastered by a fighter or the member of the school. The combination of movements is used to show the art of traditional self-defense and to beautify the steps of movements. The fighter usually improvises the movements (kembangan). The function of kembangan is to refine and improvise the movements so that if we see the fighter is showing his movements, its looks attractive and beautiful. Each school of traditional self-defense has its own weapon of self defense as ist characteristics. They are; knife, clublike weapon, trident, and others.
The inheritance of traditional culture in Tanah Datar Regency, Luhak Nan Tuo, as the center of Minagkabau Culture, is Silat Kumango. Silat Kumango is one of inheritance of traditional culture that is still conserved by the ty. It is proved by the existence of Silat Kumango school in Batusangkar.
Tanah Datar Regency, namely The School of Silat Kumango or Perguruan Silat Kumango (Persikum). The steps or movements are created by Syekh Kumango (Syekh Abdurrahman Alkalidi) and perhaps it will develop during the time, if the society still keep this traditional self-defense as the pats of life and its philosophy.
Silat Kumango is also a source of dance inspiration for Indonesian choreographer. One of them is Gusmiati Suid. He is a maestro of is Leasmandri, one of Indonesian young choreographer. In creating his dance, he is always inspired by Silat Kumango. Thus, both of these choreographer have wandered around the world to perform their dances.
The meaning of defense in Silat Kumango is the way to understand the meaning of life. Defense takes philosophy of the respectto human. The picture of mother, father, teacher, and best friends becomes much important for a fighter (pandeka) of Silat Kumango.
The weapon used in Silat Kumango is only the cloth of Sarong or Usually called Kain Sarung that is used for daily activity. But, in Silat Kumango, it can be an unique and interesting weapon. Kain Sarung represents the meaning of traditional symbols.
Masnatiang yaraik or praise the oath is one of the requirements if someone wants to learn and become the students of Silat Kumango school. Manating Syaraik is the symbols of tradition that is reaely in today’s life. Lado, garam, jarum panjaik jo banang, pisau tumpul, kain putih and ayam batino become an interesting meaning of manatiang Syaraik process.
Then, who creates the steps is Silat Kumango? Why does this self-defense becomes phenomena that is interesting to discuss and describe? Syekh Kumango (Syekh Abdurrahman Alkalidi) id the figure behind Silat Kumango. A figure that creates the steps in Silat Kumango.
The era keeps on moving, and many figures, the next generation of Syekh Kumango, preserve Silat Kumango. Some of them are Samsarif Malin Marajo, the son of Syekh Kumango. Mohammad Zein, Lazuardi Malin Marajo (Ar Malin, a students of Syekh Kumango), and others. These people also create new steps to anticipate the development of era. There is a aslogan in Silat Kumango. If a teacher teaches a skill to his students, the students must be able to master it and try to get a better skillm that has more value. The slogan is guru maaja sabaleh elaan, nn kamudian murid mandapek ilmu doubaleh elaan. A student is ddemanded to have more than his teacher.
“KUMANGO” THE INMSPIRATION OF CONTELMPORARY DANCE
A piece of twig, leaf and flower
Have been the tring of flower
What have fascinated the world
Meanwhile the root snd the stem are left behind
Don’t know where the jungle is (?)
A memory of traditional self-defense that almost forgotten
The expression of sentence above remind us about the story of Silat Kumango. Silat Kumango is the source of inspiration or the process of dance’s creating by several artists. One of them is Gusmiati aid, an artists from Batusangkar, West Sumatra, Indonesia. He has given many creative contributions to the developments ofd atrs, specially dances that are inspired by Minangkabau traditional self-defense. Through Gumarang Sakti Dance Company established in 1982, hehas shown hie creativity throught his work and solidity his self as famous Indonesian artists that gets awards from national and International society. His contemporary dances never leave the spirit of Minangkabau. Even he strongly exploits and puts the culture in his work, specially Silat Kumango. He finds “the spirit” and the richness of traditional self-defense movements. His work are so dynamic, masculine, and full of suprising ideas.
He has followed many festivals, such as; An Asian Festival of theatre Dance and Martial art in 1978 in Calcutta, India, Internasionales Festival of Dance, Acasdemic in Hongkong in 1989, Recontres Internasionalesd dela Danse in La Baulle Perancis, 100 Jahre Moderner Tanz: “ Von Isadora zu Pina”.
International Tanz Festival NRW in 1994 in Jerman, Jakarta International Festival in 1994, Indonesian Dnce Festival 1994 in Jakarta and America-Indonesia Traditional Exhibition in 1991. his shows in nine countries in America got Basies Awards from New York Dances and Performance.
Gusmiati Said was born in Batusangkar August 16, 1942, academically he was graduated from Indonesian Arts Institution namely Akademi Seni Krawitan Indonesia (ASKI), Padang Panjang, West Sumatra, in 1975. he learnt Silat Kumango from his uncle, Pono Wahid (Samuono Alam), and collaborated Silat Kumango with acxademic touch. So, he is able to create dynamic dances the based on traditional self-defense. It makes him becomes a maestro of Indonesian Dance.
Meanwhile, the other source of contemporary dance inspiration in Batusangkar is a young choreographer, Lesmandri. He was born in Bartusangkar, March 22, 1966. when he was twelve years old, he started to learn Minagkabau traditional self-defense taught by Silat Kumango’s students. Lesmandri is also one of main dance in Gumarang Sakti Dance Company. His top prestation is with Gusmiati Said in America-Indonesia Culture Exhibition in 1991. his shows in nine countries in America got Bassie’s Awrds from New York Dances and performance. As the responsibility of choreographer, Leasmandri, in his explorationand searchingof his works, gets the inspiration from “Silat Kumango”. Some of his works are; Batarak (1992), Kelahiran, and Salawat Debut (1994), Kaba Siupiak (2000), Sentak Dewa (2001), Ranah Jo (Tapian) (2005), Sewindu Perjalanan Limpapeh 9705, (2005), Tali Tigo Sapilin (2005).
Silat Kumango is symbolized as “root” and “stem” btaht do not know where the forest is? The people should know where Silat Kumango comes from, where Silat Kumango comes from, where the former place of Silat Kumango is, and who creates the movements in Silat Kumango. Silat Kumango has its elements dance so that the world is really amazed by the beauty and artistic movements hidden in the values of culture exist in Silat Kumango. Thus, it is able to give sent t o the audiences that the basic movements in Minagkabau self-defense are real dynamic and give different touch.
Taking Minagkabau philosophy, Alam Takambang Jadi Guru (Nature is the best Teacher) requires the teenagers of Minagkabau to understand about tradition self-defense. It means, the teenagers must have a balance spiritual and physic.
The combonation between penetraling and understanding the religion through learning how to read Al-Qur’an in prayer house (surau) is the balance of life the must be owned by the teenagers. Thus, when they grow up they understand about life in Islam ways and also the culture of Minangkabau tradition.
Nowadays, Silat Kumango is still conserved by the generation. The theory also the philosophy in Silat Kumango give sense that a fighter or Pandeka demanded to be a apatient, wise and clever person in facing the problems. An in finishing the problems, it is symbolizes as “Maelo rambuik dalam tapuang rambuik indak putuih tapuang indak baserak”..0
.
C. CLOSING
A value become important
When the searching of personality is asked
When the change and continuity
Need meaning
We need to fill it with culture
Kumango, a traditional self-defense
Answer it for a change and continuity
As a red thread that can be felt
And brought forever
The root of traditional culture becomes important when traditional elements become’s a pillar as a starting point of work composition process. Start from traditional value, Limpapeh studio tries to explore to through the work that based on “Silat Kumango” as the work inspiration of contemporary dance.
Severa questions appear Along with changing and phenomena that continuously moves to modernity. Can we pass the era where the change happens so fast in our world, our room, our diningroom, and even in our private room? Is our civilization able to handle it behind the change that keeps on moving?
Through “Kumango Dalam Cerita”, we offer you that tradition must be glorified as a civilization value. Through “Silat Kumango”, it is hoped that we can act a a bridge for the change that cannot be refused by “no”. we try to pass is through tradition as the value of life and we are also able to emrge the change that created by them.
On the other hand, Kumango Minangkabau self-defense can be a red thread and brought for the future
- Letter of Congratulation
Congratulation on success in Postgraduate in Oxford University.
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- Letter of Introduction
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