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Journal : IZUMI

The Development of Japanese History Teaching Materials With ADDIE Method Alpina Pamugari; Yosefa Putri Tanjungsari; Ari Artadi; Hari Setiawan
IZUMI Vol 9, No 2 (2020)
Publisher : Universitas Diponegoro

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/izumi.9.2.200-208

Abstract

Japanese history course is one of the primary supporting knowledge for Japanese language and culture learners to understand Japan as a whole. Therefore, the Japanese Language and Culture department at Darma Persada University, providing a Nihon no Rekishi (Japan History) lecture using Japanese language textbooks of Japan History. However, based on the results of the evaluation using a questionnaire, Japanese language modules that our campus had now does not give a positive impact on student understanding. Based on this, our goal is to make Japanese History module with developing lecture materials. The development of teaching materials in the form of this module is a Research and Development (R&D) research, based on the ADDIE (Analyse, Design, Development, Implementation, Evaluation) method. First, the results of the analyse phase is improvement needed in order to be able to present knowledge that is not only useful and actual but also encourages students to think critically about Japan history. Second, the results at the design stage, a teaching module is prepared, which contains balanced explanations with pictures or mini videos. They can question about pictures or figures or events that have multiple perspectives for discussed with teacher in lectures. Third, in the development stage, based on the results of analysing and design stages with consultations from leading universities in Japan experts found that at the development stage, have the results that the implementation and evaluation contents of the module are a simplification of reference literature materials, and provide several perspectives on figures and events in Japanese history.
Semantic Approach on Toshihiko Izutsu’s Translation of Surah Al-Alaq (96:1-19): Comparison of 3 Qur'an in Japanese Translation Alpina Pamugari
IZUMI Vol 10, No 2 (2021)
Publisher : Universitas Diponegoro

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/izumi.10.2.389-397

Abstract

Toshihiko Izutsu is a japanese non-Muslim Islamic thinker. He translated the Qur'an into Japanese in a distinctive and striking style compared to any other Japanese translator ever. The study took one example of a letter in the Qur'an, Alaq (96:1-19), and compared Izutsu's Japanese translation with a translation by the Japan Muslim Association (JMA) and Makoto Mizutani. It can be said that the Izutsu version attempts to convey not only the complex layered meaning of each chapter and each section of the Quran, but also the atmosphere of the Quran and the Arabian Peninsula at that time to Japanese readers at the same time. On the other hand, the other two Japanese translations seem to be attempting verbatim translations that are more faithful to the Arabic original. However, it might be able to be said that the JMA  version emphasizes providing an accurate meaning based on the Sunnah classics annotation by putting a detailed note even at the expense of readability while the Mizutani version is same level with JMA but the Arabic text is not attached and it’s the easiest to read among three version.Keyword: Semantics, Toshihiko Izutsu, Qur’an
The Beauty of Japanese Ceramics in Indonesia: from VOC to Edo Shogunate's Falconry (Takagari) Pamugari, Alpina
IZUMI Vol 14, No 1 (2025): June
Publisher : Universitas Diponegoro

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/izumi.14.1.1-10

Abstract

The Dutch East India Company (VOC), founded in 1602 (Keicho 7), exported Chinese porcelain to Europe and Southeast Asia. However, a civil war broke out in China with the transition from the Ming Dynasty to the Qing Dynasty, making it impossible to export porcelain. In trouble, VOC turned its attention to Arita, where production was increasing at the time, and concluded an export contract with Japan. At that time, Japan was closed off to the rest of the world, and its only point of contact with other countries was Dejima in Nagasaki. In 1659 (Manji 2), pottery was shipped from Imari Port and headed for Dejima, where it was transferred to a Dutch ship and set off overseas. After this, Imari ware continued to be exported for about 100 years, attracting European royalty and aristocrats. Looking at the Imari Road, a sea route for the ceramic trade that took place in the 17th century, it be found that Old Imari was distributed as far as Indonesia, and when I look at the characteristics of the Japanese ceramics that remain in Indonesia, I can see the 83 example was thought to be Old Imari, and the other porcelain was also thought to be Japanese ceramics. Among them, I picked up the Imari Large Dish with Colored Sakura and Eagle Paintings in Kinrande Style and inferred that this work was intended for export. In the Edo shogunate, the falconry system (takagari) was practiced frequently, and it is thought that the patterns were selected for Edo art works, especially Ko-Imari, which were exported overseas.