This study sought to explore Indonesian university students' perceptions, problems, and suggestions of the application of blended learning in their EFL courses. A questionnaire consisting of 6 categories (benefits of online learning, benefits of face-to-face learning, learning assessment, problems in blended learning, suggestions for quality improvement of blended learning, and open-ended questions) was used as the research instrument. The collected data were analyzed descriptively and qualitatively. The results showed that most of the students perceived positively both the online and face-to-face modes used in their blended EFL courses, although they tended to have negative views on certain online technical aspects. Internet connectivity was the main problem and the solution of all technical problems was the main suggestion reported by the students. As this research was conducted only with students from one study program, the results should not be generalized and future research is suggested to be more focused on the comparison of students’ preferences for other blended course formats and relate them to students’ EFL achievement.
This study investigated the use of language learning strategies among 329 Indonesian undergraduate students in their English as foreign language learning. The Strategy Inventory for Language Learning (SILL) Version 7.0 for ESL/EFL learners developed by Oxford was employed to measure the students’ EFL learning strategies based on gender, study program, and English proficiency differences. A descriptive analysis and an independent t-test were used to analyze the collected data. The findings showed that the female, the social science, and the higher English proficiency students used overall language learning strategies more frequently in their EFL learning. Metacognitive was the strategy category most used by the students and compensation was the least used one. The memory, cognitive, metacognitive, affective, and social strategy categories were used at a high level and the compensation strategy category, at a moderate level. Although there were significant differences in the use of overall strategy and strategy categories between males and females and between social science and science students, no significant differences were found in use between students with lower and higher English proficiency. The findings had several practical implications in the process of EFL learning, especially in the higher education context. Keywords: Language Learning Strategy, English Proficiency, Gender, SILL, Study Programs
This descriptive study focused on investigating the use of metacognitive online reading strategies that were associated with learning conditions before and during the Covid-19 Pandemic. The respondents were 244 Indonesian EFL students taking an English subject at the Borneo Tarakan University. Data were collected using the Online Survey of Reading Strategies (OSORS) through the application of Google Form. The collected data were analyzed descriptively and quantitatively. The results showed that before the pandemic, support strategies were used more frequently, while global strategies were used less frequently. During the pandemic, support strategies and problem-solving strategies were more dominantly used, while global strategies remained the least used. Although the students differed significantly in using the overall and categorical strategies, they did not have differences in using some of the individual strategies. The students were moderate users of the strategies before the pandemic and were high users during the pandemic. These results imply that EFL students need to have metacognitive awareness to help them better understand what they read online. This can be done by involving students more actively in the use of strategies, especially those that were not different when used before and during the Covid-19 pandemic.
As a genre of popular music, dangdut is part of pop culture entertainment industry. Dangdut has a "community of listeners" , in addition to obtaining maintenance and reasonable award. People no longer question of where such music originated and who acts as the source. But in pop culture it is also defined as "the location of the fight" , where many of the meanings defined and debated. It is not enough to underestimate the pop culture as only serving to the complement of the system in capitalism and patriarchy, allowing it to anesthetize people with false consciousness.Pop culture can also be seen as the location where the contested meanings and dominant ideologies can be disturbed; between the market and the various ideologies; between investors and producers; between director and actor; between publishers and authors; between capitalists and workers; among women and men; groups of heterosexual and homosexual; groups of blacks and whites; old and young; between what the meaning of all things, and what it means, a battle of control ( towards the meaning) that sustain continously. Thus, finally, in the television, dangdut do not only just offer entertainment, but also the ideologies that continue to be produced and reproduced in the name of entertainment world called dangdut .Keywords : dangdut, pop culture, ideology, spectacle, entertainment. AbstrakSebagai genre musik populer, dangdut adalah bagian dari industri hiburan budaya pop. Ia mempunyai "masyarakat pendengar", di samping memperoleh pemeliharaan dan penghargaan yang cukup wajar. Orang tidak lagi mempersoalkan dari mana musik semacam itu berasal dan siapa yang berperan sebagai cikal-bakalnya. Namun dalam kebudayaan pop juga didefinisikan sebagai "lokasi pertarungan, di mana banyak dari makna ini ditentukan dan diperdebatkan. Tidak cukup untuk mengecilkan budaya pop sebagai hanya melayani sistem pelengkap bagi kapitalisme dan patriarkhi, membiarkan kesadaran palsu membius masyarakat.Budaya pop juga bisa dilihat sebagai lokasi di mana makna-makna dipertandingkan dan ideologi yang dominan bisa saja diusik; antara pasar dan berbagai ideologi; antara pemodal dan produser; antara sutradara dan aktor; antara penerbit dan penulis; antara kapitalis dan kaum pekerja; antara perempuan dan laki-laki; kelompok heteroseksual dan homoseksual; kelompok kulit hitam dan putih; tua dan muda; antara apa makna segala sesuatunya, dan bagaimana artinya, merupakan pertarungan kontrol (terhadap makna) yang berlangsung terus menerus. Dengan demikian, dangdut di televisi akhirnya bukan lagi sekedar menawarkan hiburan, namun juga ideologi-ideologi yang terus diproduksi dan direproduksi atas nama jagat hiburan bernama dangdut.Kata-Kata Kunci: dangdut, budaya pop, ideologi, tontotan, hiburan.
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