The Description of Moral Value in Maher Zain's Thank
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Connotative Meanings in Ed Sheeran's Song Lyrics
CONNOTATIVE MEANINGS IN ED SHEERAN’S SONG LYRICS THESIS Submitted as a Partial Requirements for the degree of Sarjana in English Letters Department Written By: WAHYU KUSUMANINGRUM SRN. 163 211 050 ENGLISH LETTERS DEPARTMENT CULTURES AND LANGUAGES FACULTY THE STATE ISLAMIC INSTITUTE OF SURAKARTA 2020 CONNOTATIVE MEANINGS IN ED SHEERAN’S SONG LYRICS THESIS Submitted as a Partial Requirements for the degree of Sarjana in English Letters Department Written By: WAHYU KUSUMANINGRUM SRN. 163 211 050 ENGLISH LETTERS DEPARTMENT CULTURES AND LANGUAGES FACULTY THE STATE ISLAMIC INSTITUTE OF SURAKARTA 2020 i ADVISOR SHEET Subject : Thesis of Wahyu Kusumaningrum SRN : 163211050 To: The Dean of Cultures and Languages Faculty IAIN Surakarta In Surakarta \ Assalamu’alaikum Wr. Wb. After reading thoroughly and giving necessary advices, herewith, as the advisors, we state that the thesis of Name : Wahyu Kusumaningrum SRN : 16.32.1.1.050 Title : Connotative Meanings in Ed Sheeran’s Song Lyrics has already fulfilled the requirements to be presented before the board of Examiners (munaqosyah) to gain Bachelor Degree in English Letters. Thank you for the attention Wassalamu’alaikum Wr. Wb. Surakarta, November 2, 2020 Advisor Robith Khoiril Umam S.S., M.Hum. NIP. 19871011 201503 1 006 ii iii DEDICATION This thesis is dedicated to: 1. Myself 2. My beloved parents 3. My beloved family 4. English Letters 2016 5. English Letters Department 6. My Almamater IAIN Surakarta iv MOTTO “Dan (ingatlah juga), tatkala Tuhanmu memaklumkan; "Sesungguhnya jika kamu bersyukur, pasti Kami akan menambah (nikmat) kepadamu, dan jika kamu mengingkari (nikmat-Ku), maka sesungguhnya azab-Ku sangat pedih.” (Q.S. -
Oral History Interview with Beatrice Wood, 1976 August 26
Oral history interview with Beatrice Wood, 1976 August 26 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Beatrice Wood on August 26, 1976. The interview was conducted by Paul Karlstrom for the Archives of American Art, Smithsonian Institution. Interview PAUL KARLSTROM: I'm delighted that I have a chance to talk with you and learn something about your own background and something about your work as a potter. Maybe you could tell me a little bit about your family and where you were born, and the early days. BEATRICE WOOD: I'll do that briefly. PAUL KARLSTROM: O.K. BEATRICE WOOD: I was born in San Francisco. PAUL KARLSTROM: Oh really? BEATRICE WOOD: And I tell everybody in 1703. That solves the question. And I was very unhappy in my family. We moved immediately to New York and then I was taken over to Paris and I learned to read French before I learned to read English. I was in a convent for a year. Then they brought me back and put me in a private school. I went to Miss Ely's, which was the fashionable finishing school in those years. PAUL KARLSTROM: Is that in the New York area? BEATRICE WOOD: In New York. It's now completely nonexistent. -
Sami Yusuf and Music
ARGUING OVER MUSIC The internationally renowned Muslim singer and composer, Sami Yusuf, is about to make his debut performance in Guyana and people of all ages are excited. That’s because many Guyanese Muslims are already deeply familiar with Yusuf’s songs which are easily accessible online. Threatening to dampen their spirits however, is a handful of dreary extremists armed with a set of flawed arguments. They are quoting verses from the Quran and sayings attributed to Prophet Muhammad, peace be upon him, out of context in order to declare Yusuf’s music as “forbidden” (haram) or disliked (makruh) according to the Islamic legal tradition. These dour individuals wish to convince Muslims that the music of Sami Yusuf, Yusuf Islam (the artist formerly known as Cat Stevens), Zain Bhikha, Maher Zain, Native Deen, Aashiq Al-Rasul and a lengthy list of popular Muslim singers and composers are deviants hellbent on corrupting Muslim youth. Listening to their arguments one assumes that Sami Yusuf might be performing an Arab version of Miley Cyrus’ twerking to a rowdy crowd of badly behaved men and women who egg him on as they chug back a few bottles Banks beer. The lyrics of Sami Yusuf songs praise God for his countless bounties, the foremost of which is His sending the noble Prophet, peace be upon him, as a mercy to all of mankind. A similar genre of music in the form of Urdu naats and qasidas has sustained Muslim religious life in Guyana for nearly 200 years and no one has ever suggested, except an ignoramus, that this practice prevents believers from listening to or memorizing the verses of the Quran. -
THE CLASS.Fdr
Entre les Murs (The Class) Written by Laurent Cantet, Robin Campillo and François Bégaudeau Based on the novel "Entre les murs" by François Bégaudeau published by Verticales, 2006 Directed par Laurent Cantet Developed with the backing of the Centre National de la Cinématographie, the Procirep and the European Union's Media Programme INT. CAFÉ - DAY The first morning of the new school year. In a Paris café, leaning on the bar, FRANÇOIS, 35 or so, peacefully sips coffee. In the background, we can vaguely make out a conversation about the results of the presidential election. François looks at his watch and seems to take a deep breath as if stepping onto a stage. EXT. STREET - DAY François comes out of the café. Across the street, we discover a large building whose slightly outdated façade is not particularly welcoming. He walks over to the imposing entrance that bears the shield of the City of Paris in wrought iron and beneath which we read “JAURES MIDDLE SCHOOL”. On the opposite sidewalk, coming from the other end of the street, a small group of teachers hurries towards the entrance. François hears them joking. VINCENT He’s a really great guy, not the back- slapping type but… François greets them in passing. INT. CORRIDORS - SCHOOL - DAY We discover the school’s deserted corridors. Through the doorway of a classroom, François sees a few cleaners who, in a very calm atmosphere, clean the tables and line them up neatly, wash the windows… A short distance further on, a man in overalls applies one last coat of paint to an administrative notice board. -
Nov 2018 GPE Listings02.Indd 87 16/10/2018 3:27 PM MOVIES
going places 88 MOVIES 90 TV SHOWS 92 AUDIO Entertainment RADIO © 2018 WALT DISNEY STUDIOS MOTION PICTURES. ALL RIGHTS RESERVED. ANT-MAN AND THE WASP RATINGS: R Restricted. Not suitable for audiences under 17 years of age. LANGUAGES: G / U General audience. Suitable for all ages. NR Not rated by the Motion Picture Association of America. A Arabic / D Danish / E English / ES Spanish / F French / G German / H Hindi / I Italian / IN Indonesian / J Japanese / K Korean / PG Parental guidance recommended. Some content may not be Contains scenes or language that may be disturbing or suitable for children. M Mandarin / ML Malay / T Tamil / TA Tagalog o ensive. Viewer discretion is advised. PG-13 Parental guidance strongly recommended. Some content may be inappropriate for children under 13 years of age. Programmes with Malaysian content. SUBTITLES: 15 Suitable for audiences aged 15 years and above. Award-winning movies/programmes. A+ Arabic / C+ Chinese / E+ English / J+ Japanese / M+ Malay Nov 2018_GPE_Listings02.indd 87 16/10/2018 3:27 PM MOVIES LATEST FAVOURITES JACK THE GIANT SLAYER PG13 / 114 mins / Adventure, Drama, Fantasy / E, K, J, C+ THE PEANUTS MOVIE PG / 88 mins / Animation, Adventure, Comedy / E, E+ SCOOBY-DOO! BIG TOP SCOOBY-DOO! New THE MEG THE INCREDIBLES 2 TAG THE BUTTERFLY TREE DEN OF THIEVES NR / Animation, Family, Fantasy / E JASON STATHAM, LI CRAIG T. NELSON, HOLLY JEREMY RENNER, ED HELMS, MELISSA GEORGE, EWEN GERARD BUTLER, PABLO BINGBING, RAINN WILSON, HUNTER, SARAH VOWELL JAKE JOHNSON, JON HAMM, LESLIE, ED OXENBOULD SCHREIBER, O'SHEA RUBY ROSE, WINSTON CHAO AKE JOHNSON JACKSON JR. -
The World's 500 Most Influential Muslims, 2021
PERSONS • OF THE YEAR • The Muslim500 THE WORLD’S 500 MOST INFLUENTIAL MUSLIMS • 2021 • B The Muslim500 THE WORLD’S 500 MOST INFLUENTIAL MUSLIMS • 2021 • i The Muslim 500: The World’s 500 Most Influential Chief Editor: Prof S Abdallah Schleifer Muslims, 2021 Editor: Dr Tarek Elgawhary ISBN: print: 978-9957-635-57-2 Managing Editor: Mr Aftab Ahmed e-book: 978-9957-635-56-5 Editorial Board: Dr Minwer Al-Meheid, Mr Moustafa Jordan National Library Elqabbany, and Ms Zeinab Asfour Deposit No: 2020/10/4503 Researchers: Lamya Al-Khraisha, Moustafa Elqabbany, © 2020 The Royal Islamic Strategic Studies Centre Zeinab Asfour, Noora Chahine, and M AbdulJaleal Nasreddin 20 Sa’ed Bino Road, Dabuq PO BOX 950361 Typeset by: Haji M AbdulJaleal Nasreddin Amman 11195, JORDAN www.rissc.jo All rights reserved. No part of this book may be repro- duced or utilised in any form or by any means, electronic or mechanic, including photocopying or recording or by any information storage and retrieval system, without the prior written permission of the publisher. Views expressed in The Muslim 500 do not necessarily reflect those of RISSC or its advisory board. Set in Garamond Premiere Pro Printed in The Hashemite Kingdom of Jordan Calligraphy used throughout the book provided courte- sy of www.FreeIslamicCalligraphy.com Title page Bismilla by Mothana Al-Obaydi MABDA • Contents • INTRODUCTION 1 Persons of the Year - 2021 5 A Selected Surveyof the Muslim World 7 COVID-19 Special Report: Covid-19 Comparing International Policy Effectiveness 25 THE HOUSE OF ISLAM 49 THE -
Music for Guitar
So Long Marianne Leonard Cohen A Bm Come over to the window, my little darling D A Your letters they all say that you're beside me now I'd like to try to read your palm then why do I feel so alone G D I'm standing on a ledge and your fine spider web I used to think I was some sort of gypsy boy is fastening my ankle to a stone F#m E E4 E E7 before I let you take me home [Chorus] For now I need your hidden love A I'm cold as a new razor blade Now so long, Marianne, You left when I told you I was curious F#m I never said that I was brave It's time that we began E E4 E E7 [Chorus] to laugh and cry E E4 E E7 Oh, you are really such a pretty one and cry and laugh I see you've gone and changed your name again A A4 A And just when I climbed this whole mountainside about it all again to wash my eyelids in the rain [Chorus] Well you know that I love to live with you but you make me forget so very much Oh, your eyes, well, I forget your eyes I forget to pray for the angels your body's at home in every sea and then the angels forget to pray for us How come you gave away your news to everyone that you said was a secret to me [Chorus] We met when we were almost young deep in the green lilac park You held on to me like I was a crucifix as we went kneeling through the dark [Chorus] Stronger Kelly Clarkson Intro: Em C G D Em C G D Em C You heard that I was starting over with someone new You know the bed feels warmer Em C G D G D But told you I was moving on over you Sleeping here alone Em Em C You didn't think that I'd come back You know I dream in colour -
112 It's Over Now 112 Only You 311 All Mixed up 311 Down
112 It's Over Now 112 Only You 311 All Mixed Up 311 Down 702 Where My Girls At 911 How Do You Want Me To Love You 911 Little Bit More, A 911 More Than A Woman 911 Party People (Friday Night) 911 Private Number 10,000 Maniacs More Than This 10,000 Maniacs These Are The Days 10CC Donna 10CC Dreadlock Holiday 10CC I'm Mandy 10CC I'm Not In Love 10CC Rubber Bullets 10CC Things We Do For Love, The 10CC Wall Street Shuffle 112 & Ludacris Hot & Wet 1910 Fruitgum Co. Simon Says 2 Evisa Oh La La La 2 Pac California Love 2 Pac Thugz Mansion 2 Unlimited No Limits 20 Fingers Short Dick Man 21st Century Girls 21st Century Girls 3 Doors Down Duck & Run 3 Doors Down Here Without You 3 Doors Down Its not my time 3 Doors Down Kryptonite 3 Doors Down Loser 3 Doors Down Road I'm On, The 3 Doors Down When I'm Gone 38 Special If I'd Been The One 38 Special Second Chance 3LW I Do (Wanna Get Close To You) 3LW No More 3LW No More (Baby I'm A Do Right) 3LW Playas Gon' Play 3rd Strike Redemption 3SL Take It Easy 3T Anything 3T Tease Me 3T & Michael Jackson Why 4 Non Blondes What's Up 5 Stairsteps Ooh Child 50 Cent Disco Inferno 50 Cent If I Can't 50 Cent In Da Club 50 Cent In Da Club 50 Cent P.I.M.P. (Radio Version) 50 Cent Wanksta 50 Cent & Eminem Patiently Waiting 50 Cent & Nate Dogg 21 Questions 5th Dimension Aquarius_Let the sunshine inB 5th Dimension One less Bell to answer 5th Dimension Stoned Soul Picnic 5th Dimension Up Up & Away 5th Dimension Wedding Blue Bells 5th Dimension, The Last Night I Didn't Get To Sleep At All 69 Boys Tootsie Roll 8 Stops 7 Question -
Music and Islamic Reform
Linfield University DigitalCommons@Linfield Senior Theses Student Scholarship & Creative Works 5-26-2015 Music and Islamic Reform Amanda Pierce Linfield College Follow this and additional works at: https://digitalcommons.linfield.edu/muscstud_theses Part of the History of Religions of Eastern Origins Commons, and the Musicology Commons Recommended Citation Pierce, Amanda, "Music and Islamic Reform" (2015). Senior Theses. 7. https://digitalcommons.linfield.edu/muscstud_theses/7 This Thesis (Open Access) is protected by copyright and/or related rights. It is brought to you for free via open access, courtesy of DigitalCommons@Linfield, with permission from the rights-holder(s). Your use of this Thesis (Open Access) must comply with the Terms of Use for material posted in DigitalCommons@Linfield, or with other stated terms (such as a Creative Commons license) indicated in the record and/or on the work itself. For more information, or if you have questions about permitted uses, please contact [email protected]. Pierce !1 MUSIC AND ISLAMIC REFORM Amanda Pierce Senior Thesis: Music and Religious Studies May 1, 2015 Signature redacted Signature redacted Pierce !2 Music and Islam have not always been on good terms. 1In many strict orthodox circles of Islam, most things that fall under the Western definition of "music" are Haram can mean forbidden and not permissible or something .(حرام) considered haram like sacred and only accessible by a small group, if not solely by Allah. In this paper, haram, will be defined as forbidden unless specified otherwise. 2Though music has never been absent from Islamic cultures, it has never been completely embraced either. The stance on music in the Islamic world, however, is changing along with many other things that were once standard practice or tradition. -
Social Media and Egypt's Arab Spring
Social Media and Egypt’s Arab Spring Lieutenant-Commander G.W. Bunghardt JCSP 40 PCEMI 40 Exercise Solo Flight Exercice Solo Flight Disclaimer Avertissement Opinions expressed remain those of the author and do Les opinons exprimées n’engagent que leurs auteurs et not represent Department of National Defence or ne reflètent aucunement des politiques du Ministère de Canadian Forces policy. This paper may not be used la Défense nationale ou des Forces canadiennes. Ce without written permission. papier ne peut être reproduit sans autorisation écrite. © Her Majesty the Queen in Right of Canada, as represented by the © Sa Majesté la Reine du Chef du Canada, représentée par le Minister of National Defence, 2014. ministre de la Défense nationale, 2014. CANADIAN FORCES COLLEGE / COLLÈGE DES FORCES CANADIENNES JCSP 40 / PCEMI 40 Social Media and Egypt’s Arab Spring By LCdr G.W. Bunghardt This paper was written by a student attending La présente étude a été rédigée par un the Canadian Forces College in fulfilment of stagiaire du Collège des Forces canadiennes one of the requirements of the Course of pour satisfaire à l'une des exigences du cours. Studies. The paper is a scholastic document, L'étude est un document qui se rapporte au and thus contains facts and opinions, which the cours et contient donc des faits et des opinions author alone considered appropriate and que seul l'auteur considère appropriés et correct for the subject. It does not necessarily convenables au sujet. Elle ne reflète pas reflect the policy or the opinion of any agency, nécessairement la politique ou l'opinion d'un including the Government of Canada and the organisme quelconque, y compris le Canadian Department of National Defence. -
Running Head: COMBINATION of EMOJI and TEXT in MUSICIANS’ TWITTER POSTS
Running head: COMBINATION OF EMOJI AND TEXT IN MUSICIANS’ TWITTER POSTS Combination of Emoji And Text In Musicians’ Twitter Posts Yudha Nirmala Universitas Sebelas Maret, Surakarta, Indonesia Author Note Author is student of English Department, Faculty of Cultural Sciences, Universitas Sebelas Maret, Jalan Ir. Sutami 36A, Surakarta, Indonesia COMBINATION OF EMOJI AND TEXT IN MUSICIANS’ TWITTER POSTS Abstract This research aims to understand the status relation and the way the text and emoji interacts in musicians’ twitter posts. This research focuses on the musicians’ twitter posts containing promotion, which also include emoji and text. This research design is a descriptive qualitative which uses the multimodality theory of the generalized image-text relation of Radan Martinec and Andrew Salway. Findings shows that the musicians tend to position the emoji subordinated to text. In terms of logico-semantic relation, the extension relation occurs more than the exemplification and enhancement relation. The emoji mostly provides additional information, which cannot be transferred within the text, such as expression and feeling. It is also used to symbolize the event they promote in the post, such as guitar emoji ( ) in a concert promotion. The religious musicians tend to use emoji to provide information about themselves, such as feeling and expression. While, the rock musicians use the emoji more to put information about the event, such as the place and how many days left until the event begins. Keywords: multimodality, image-text relation, emoji, text, musician. COMBINATION OF EMOJI AND TEXT IN MUSICIANS’ TWITTER POSTS Combination of Emoji And Text In Musicians’ Twitter Posts One aspect of human life, which has changed drastically since the invention of internet, is communication. -
AN ANALYSIS of MODALITY in MAHER ZAIN's SONG
AN ANALYSIS OF MODALITY IN MAHER ZAIN’s SONG (NUMBER ONE FOR ME) A THESIS Submitted to the State Institute for Islamic Studies Padangsidimpuan as a Partial Fulfillment of the Requirement for theGraduate Degree of Education (S.Pd) In English Written by FITRI RAHMADANI LUBIS Reg. Number. 13 340 0051 ENGLISH EDUCATIONAL DEPARTMENT TARBIYAH AND TEACHERS TRAINING FACULITY INSTITUTE FOR ISLAMIC STUDIES PADANGSIDIMPUAN 2017 NAME : FITRI RAHMADANI LUBIS REG. NO : 13 340 0051 FACULTY : TARBIYAH DAN ILMU KEGURUAN DEPARTMENT : TADRIS BAHASA INGGRIS (TBI-2) TITLE OF THESIS : AN ANALYSIS OF MODALITY IN MAHER ZAIN’S SONG (NUMBER ONE FOR ME) ABSTRACT In this research, the researcher analyzed mood and modality in Maher Zain song. The objective of this research are: 1) To find mood and modality in Maher Zain song. 2) To find dominant type of mood and modality in Maher Zain song. 3) To explain mood and modality in Maher Zain song. The purpose of this research was to analysis mood and modality in Maher Zain’s song (number one for me). This research hope this study can be useful to researcher. It will provide materials, it can be used by teacher to get mood and modality in Maher Zain’s song. This study is a qualitative research and uses content analysis. This research object is a song called number one for me song by Maher Zain, the lyrics of this song is very well known, especially by review those who love song, sung in various circles. The language contained in this song of course means that need to be revealed to gain an understanding it.