JPP Borneo Representative : Nur 'Adilah Dayana Abdullah

She is Nur 'Adilah Dayana Bt Abdullah

She came from Sabah =)

She is 19 years old.

Vote for her as your JPP Borneo Representative of IPSAH

I will gladly say that she is a trusted girl and will do her responsibilities well.

Sentences : Simple, Compund and Complex

Hey ya, in this post, you are about to learn how to identify 

Simple, Compound and Complex sentences.

The reason why we need to learn writing in various types of sentences because it can make our writing more lively and interesting to read. Too many simple sentences sometime will make our writing boring but too many long sentences would make people difficult to understand our writing.

SIMPLE SENTENCE

A simple sentence, also called an independent clause, contains a subject and a verb, and it expresses a complete thought. In the following simple sentences, subjects are in yellow, and verbs are in green.

A. Some students like to study in the mornings.
B. Juan and Arturo play football every afternoon.
C. Alicia goes to the library and studies every day.

The three examples above are all simple sentences. Note that sentence B contains a compound subject, and sentence C contains a compound verb. Simple sentences, therefore, contain a subject and verb and express a complete thought, but they can also contain a compound subjects or verbs. 

COMPOUND SENTENCE  

A compound sentence contains two independent clauses joined by a coordinator. The coordinators are as follows: for, and, nor, but, or, yet, so. (Helpful hint: The first letter of each of the coordinators spells FANBOYS.) Except for very short sentences, coordinators are always preceded by a comma. In the following compound sentences, subjects are in yellow, verbs are in green, and the coordinators and the commas that precede them are in red.

A. I tried to speak Spanish, and my friend tried to speak English.
B. Alejandro played football, so Maria went shopping.
C. Alejandro played football, for Maria went shopping.


The above three sentences are compound sentences. Each sentence contains two independent clauses, and they are joined by a coordinator with a comma preceding it. Note how the conscious use of coordinators can change the relationship between the clauses. Sentences B and C, for example, are identical except for the coordinators. In sentence B, which action occurred first? Obviously, "Alejandro played football" first, and as a consequence, "Maria went shopping. In sentence C, "Maria went shopping" first. In sentence C, "Alejandro played football" because, possibly, he didn't have anything else to do, for or because "Maria went shopping." How can the use of other coordinators change the relationship between the two clauses? What implications would the use of "yet" or "but" have on the meaning of the sentence?

COMPLEX SENTENCE 

 A complex sentence has an independent clause joined by one or more dependent clauses. A complex sentence always has a subordinator such as because, since, after, although, or when or a relative pronoun such as that, who, or which. In the following complex sentences, subjects are in yellow, verbs are in green, and the subordinates and their commas (when required) are in red.

A. When he handed in his homework, he forgot to give the teacher the last page.
B. The teacher returned the homework after she noticed the error.
C. The students are studying because they have a test tomorrow.
D. After they finished studying, Juan and Maria went to the movies.
E. Juan and Maria went to the movies after they finished studying.


When a complex sentence begins with a subordinator such as sentences A and D, a comma is required at the end of the dependent clause. When the independent clause begins the sentence with subordinators in the middle as in sentences B, C, and E, no comma is required. If a comma is placed before the subordinators in sentences B, C, and E, it is wrong.

Note that sentences D and E are the same except sentence D begins with the dependent clause which is followed by a comma, and sentence E begins with the independent clause which contains no comma. The comma after the dependent clause in sentence D is required, and experienced listeners of English will often hear a slight pause there. In sentence E, however, there will be no pause when the independent clause begins the sentence.

I hope that all the viewers can understand better after viewing this post.

Thank You. 

Note Taking Skills - a way to achieve success in studies.

NOTE-TAKING SKILLS

·        THE ABILITY TO TAKE GOOD NOTE WILL SAVE THE TIME AND EFFORT.

MIND MAPPING

·        ENABLE ONE TO CAPTURE ALL THE INFORMATION IN A PIECE OF PAPER.

HOW TO DEVELOP A MIND MAP?

·        START BY DRAWING PICTURE OF YOUR MAIN IDEA IN THE CENTRE OF YOUR PAPER.

·        USE 3 OR MORE COLOURS FOR YOUR IMAGE

·        MAKE BRANCHES TO REPRESENT THE ESSENTIAL IDEAS OR TOPICS.

·        THICK NEAR THE BASE AND CURVED TO ATTRACT THE EYES, SHOULD BE CONNECTED TO THE CENTRE.

·        USE SIMPLE WORDS THROUGHOUT THE MIND MAP.

·        DRAW SMALLER BRANCHES USING COLOURS, SYMBOLS OR CODES.

·        RELATE THE IDEA OF MAIN TOPICS AND SUPPORTING IDEA.

·        USE PICTURE SO U CAN STIMULATE YOUR CREATIVITY AND IMPROVE YOUR MEMORY

·        DEVELOP AS FAST AS U CAN FOR AS LONG AS POSSIBLE.

EXAMPLE OF MIND MAPS

Trifles by Susan Glaspell

Introduction

Susan Glaspell’s one-act play, Trifles, is based on actual events that occurred in Iowa at the turn of the century. From 1899-1901 Glaspell worked as a reporter for the Des Moines News, where she covered the murder trial of a farmer’s wife, Margaret Hossack, in Indianola, Iowa. Hossack was accused of killing her husband, John, by striking him twice in the head with an ax while he slept.

Initially it was assumed that burglars had murdered the farmer, but a subsequent sheriff’s investigation turned up evidence suggesting Mrs. Hossack was unhappy in her marriage. Ultimately, she was charged with and found guilty of the crime and sentenced to life in prison.

Over the course of sixteen months, Glaspell wrote twenty-six articles covering the case, from the announcement of the murder until Hossack’s conviction. The author found herself feeling more and more sympathy for the accused, in spite of the grisly nature of the crime.

Years later, Glaspell and her husband, George Cook, along with some friends, founded the Provincetown Players, an amateur theatrical company on Cape Cod, Massachusetts. In 1916 the group presented a summertime series of plays that included Eugene O'Neill's Bound East for Cardiff. In need of a new play to end the season, Cook suggested Glaspell should write a one-act for the company. Her memory of the Hossack trial inspired Trifles.

Trifles is a murder mystery that explores gender relationships, power between the sexes, and the nature of truth. In the play, the farmer and his wife never actually appear; instead, the story focuses on the prosecutor, George Henderson, who has been called in to investigate the murder; Henry Peters, the local sheriff; Lewis Hale, a neighboring farmer who discovered Wright’s body; and Mrs. Peters and Mrs. Hale, wives to the two local men.

While the men bluster and tramp around the farmhouse searching for clues, the women discover bits of evidence in the ‘‘trifles’’ of a farmer’s wife—her baking, cleaning and sewing. Because the men virtually ignore the women’s world, they remain blind to the truth before their eyes.

Drama Review

The setting for Trifles, a bleak, untidy kitchen in an abandoned rural farmhouse, quickly establishes the claustrophobic mood of the play. While a cold winter wind blows outside, the characters file in one at a time to investigate a violent murder: the farm’s owner, John Wright, was apparently strangled to death while he slept, and his wife, Minnie, has been taken into custody as a suspect in the crime.

The sheriff, Henry Peters, is the first to enter the farmhouse, followed by George Henderson, the attorney prosecuting the case. Lewis Hale, a neighbor, is next to enter. The men cluster around a stove to get warm while they prepare for their investigation.

Mrs. Peters and Mrs. Hale follow the men into the kitchen; yet, they hesitate just inside the door. They are obviously quite disturbed by what has happened in the house and proceed with more care than their husbands.

In a play filled with minor details (trifles) that take on major significance, the entrance of the characters is very revealing. There is an obvious divide—social, psychological, and physical—separating the men from the women, a fact that takes on a larger significance as the play progresses.

The investigation begins with Henderson questioning Lewis, who discovered the murder the day before. Lewis explains that he was on his way into town with a load of potatoes and stopped at the Wright farmhouse to see if John and Minnie wanted to share a telephone line with him, since they were neighbors. The farmer admits that he didn’t think John would be interested, since he didn’t like to talk much and didn’t seem to care about what his wife might want.

When he appeared at the Wright’s door early in the morning, he found Minnie rocking nervously in a chair, pleating her apron. When he asked to see her husband, she quietly told Lewis that he was lying upstairs with a rope around his neck, dead.

Lewis summoned his partner, Harry, to check the grisly scene. The two men found John just as his wife described him. Minnie claimed someone strangled him in the middle of the night without disturbing her. ‘‘I sleep sound,’’ she explained to her shocked neighbor.

Henderson suggests the men should look around the house for clues, beginning with the bedroom upstairs and the barn outside. Henry casually dismisses the room where Minnie sat, suggesting there is ‘‘nothing here but kitchen things.’’

It is those very kitchen things, however, which prove to be the most telling clues about what really happened in the Wright farmhouse. Climbing up on a chair to view the top shelf of a cupboard closet, Henderson finds some broken jars of fruit preserves. Mrs. Peters asserts that Minnie was afraid those jars would freeze and break while she was away. ‘‘Well, can you beat the woman!’’ Henry scoffs, ‘‘Held for murder and worryin’ about her preserves.’’ Lewis chimes in, ‘‘Well, women are used to worrying over trifles.’’

This callous exchange highlights one of Glaspell’s most important themes in the play— differences between the sexes—and propels the plot forward into its next stage, the real detective work accomplished by Mrs. Peters and Mrs. Hale.

The men go upstairs to continue their investigation, giving the two women a chance to talk privately for the first time. As they gather things to take to Minnie—a change of clothes, her shawl, and her familiar apron—Mrs. Hale remembers her friend from years ago, before she married John. ‘‘She used to wear pretty clothes and be lively, when she was Minnie Foster, one of the town girls singing in the choir,’’ Mrs. Hale recalls.

Minnie married John, who moved her to a lonesome farmhouse at the bottom of a hill. John was, by all accounts, a taciturn man with a violent temper. Under his roof, Minnie no longer socialized, and her gay party attire turned to drab, functional house clothes.

What the men are seeking, Mrs. Peters notes, is evidence of a specific incident that must have sparked the murder. What the women are finding, however, are small signs of detachment and frustration everywhere—a loaf of bread left outside a breadbox, a table partly cleaned, and a piece of quilt with frantic, uneven stitching.

The men return and pass through the kitchen in time to hear the women discussing whether Minnie was going to quilt or knot the sewing project. To them, the question is frivolous, just the sort of thing women use to occupy their time.

While their husbands search for evidence outside the house, Mrs. Peters and Mrs. Hale discover the final, essential clues to the mystery in the kitchen. While looking for some paper and string to wrap Minnie’s things, Mrs. Peters discovers an empty birdcage with a broken door in a cupboard.

Neither woman can recall whether she actually had a bird, but Mrs. Hale remembers that Minnie did have a beautiful singing voice when she was younger. Their find takes on tragic significance, however, when Mrs. Hale opens Minnie’s sewing box and discovers a small canary wrapped in a piece of silk—with a broken neck.

Suddenly, the men return. Instinctively, Mrs. Hale hides the sewing box under the pieces of quilt. When Henderson notices the cage and asks about the bird, Mrs. Peters joins Mrs. Hale in hiding evidence. ‘‘We think the—cat got it,’’ she lies.

The men decide to take one final look around upstairs, leaving the women alone to decide their course of action. Neither will say what is on their minds out loud, but both show understanding and sympathy for the plight of Mrs. Wright.

As a girl, Mrs. Peters remembers a boy killing her kitten with a hatchet, which brings back her feelings of rage and helplessness. She also recalls years of loneliness and desolation, when she and her husband were homesteading in the Dakota plains, and her baby died, leaving her alone in the house.

For her part, Mrs. Hale has vivid memories of Minnie Foster when she was happy and outgoing, before she became Mrs. Wright, imprisoned in this bleak farmhouse, cut off from the world.

The women consider their alternatives: disclose what they know, or cover up the clues that suggest a motive to the crime. Mrs. Peters finds the answer in the men’s patronizing treatment. ‘‘My, it’s a good thing the men couldn’t hear us,’’ she says half-jokingly. ‘‘Wouldn’t they just laugh! Getting all stirred up over a little thing like a—dead canary.’’ Without admitting it aloud, this is the only excuse the women need to keep Minnie’s private agony a secret.

The men return once again. Henderson glances quickly at the items Mrs. Peters has collected to take to Minnie, not noticing the sewing box with the dead bird.

While the men take one last look around to examine the windows of the house, Mrs. Peters frantically tries to hide the box in her handbag. It won’t fit and she begins to panic. Just as the doorknob turns and the men start back into the room Mrs. Hale finds room for the box in her coat. The trifles are safely hidden.

Hanya Kerana Mata

ola, post kali ni berkisarkan mngenai mata. macam2 fakta yg manusia kaitkan dgn mata..contohnya, di Korea, lelaki lebih tertarik kpd perempuan yg bermata besaq, and aD certain pndapat says that arabian's women mmpunyai mata yg cantik..sejauh mna anda smua mnilai kcantikan mata? 

korean eyes-depa ni keja dok pkai contact lens ja (ak pon pkai gak)

ad org kata kalo minum innershine knon2 ley dpt mata mcm Maya Karin walhal pe yg cntik sgt dgn mata dya tuh..tidoq2 pas bgn ad taik mta gak (oops) cam org len gak..bulu mata fake mmg x lpas dri mata..dok maen dgn gam je la keja tiap2 ari..xpa2 ak bkn nk pi smpai part mngutuk org..sja ja bg contoh...brbalik kpd motif asal, mata mrupakan anugerah tuhan yg sgt berharga kpd manusia. kbnyakan mnusia mnggunakan mata dgn cra yg slah dan kdg2 dijamukan dgn bnda2 yg boleh mrosakkan mata. 

spa yg ptot diperslahkan ? (ayat melodi =D)

sesetengah org mmg x hargai lgsung mata depa, they simply gna mata tuh utk mlakukan kejahatan, malah ad yg x brsyukur dgn nikmat ALLAH nih..ad ja yg depa x puas ati dgn mata depa..aiyaa..awat hah? syukur la..kesian sstgh org yg xdak mata (buta) depa bkn maen ssah lgi nk brgrak malah dihina plak tuh..(spa hina ak pi taboh mampuih) dh tuh mcm ssah lak nk dpt keja or whatever.

Eva - ANTM winner- cantik kowt mata dia (not u eh evanna, haha)

*sigh* skrg lets move on to sebaris pepatah melayu kononnya yg cinta nii brmula 

"dari mata turun ke hati".

choiii, how far can we trust dis s@#t? oops..hehe..kalo yg xdak mata x ley bercinta laa..cmtu? tomoii stgi..hamboih.kalo kita knalpasti balik pepatah nih, smmgnya org melayu kita nih cuma cintakan fizikal ja..dh dpt pastu buang cmtu? rsanya kna check balik kowt, ntah2 celah2 fizikal tu ad kurap ka pa ka baru ampa ketahuan..haha..

ok2..bukan nk mngata cuma nak suma org sedaq psai hal ni..kita dh byk slh gna mata kita, trmasuk mnilai org..tahap penilaian kita tuh kna la update skit, jgn la fesyen kita update, tpi hal2 cmni bley plak dok ttup mata. kdg2 kita simply nilai org from their appearance tpi kita xtau inner beauty yg trsmbunyi dlm dri manusia tuh (xtau la kalo beauty kew x len crita)

sbgai contoh, kalo org tuh gemok atau berkulit gelap, people perception yg dh lma di pegang depa sejak turun temurun lagi mmg suma nya kata golongan nih sbg last choice dlm mmilih psgan idop..well hey, i kulit gelap tpi uhum2 i putih tau..

berat mata memandang, berat lagi bahu memikulnya(eye lashes)

hohoho..xmau la ngarut pnjg2..cuma nk tekankan kat cni..gnalah nikmat tuhan dgn sebaiknya, 

kalo cantik/hensem jgn la plak slh gnakan..ok?