what is it???
god?
feeling?
good purpose?
real, abstract, or both?
the use... what the use of god creating this universe
with its contradictionsssss
Kamis, 30 September 2010
Minggu, 19 September 2010
Poetry
Why poetry is worth studying?
What is the purpose of studying poetry?
For me, poem is reflection of human being's experiences. That's why most of poems are created based on true story. it doesn't tell something directly. it uses chosen words, more precisely, the beautiful one. how could we identify whether or not the words is beautiful?
The more old fashioned, the more beautiful. The old fashioned English is called Archaic English. It is often found in Shakespeare's Sonnets. Here it is :
The sonnet I
From fairest creatures we desire increase,
That thereby beauty's rose might never die,
But as the riper should by time decease,
His tender heir might bear his memory:
But thou contracted to thine own bright eyes,
Feed'st thy light's flame with self-substantial fuel,
Making a famine where abundance lies,
Thy self thy foe, to thy sweet self too cruel:
Thou that art now the world's fresh ornament,
And only herald to the gaudy spring,
Within thine own bud buriest thy content,
And tender churl mak'st waste in niggarding:
Pity the world, or else this glutton be,
To eat the world's due, by the grave and thee.
What is the purpose of studying poetry?
For me, poem is reflection of human being's experiences. That's why most of poems are created based on true story. it doesn't tell something directly. it uses chosen words, more precisely, the beautiful one. how could we identify whether or not the words is beautiful?
The more old fashioned, the more beautiful. The old fashioned English is called Archaic English. It is often found in Shakespeare's Sonnets. Here it is :
The sonnet I
From fairest creatures we desire increase,
That thereby beauty's rose might never die,
But as the riper should by time decease,
His tender heir might bear his memory:
But thou contracted to thine own bright eyes,
Feed'st thy light's flame with self-substantial fuel,
Making a famine where abundance lies,
Thy self thy foe, to thy sweet self too cruel:
Thou that art now the world's fresh ornament,
And only herald to the gaudy spring,
Within thine own bud buriest thy content,
And tender churl mak'st waste in niggarding:
Pity the world, or else this glutton be,
To eat the world's due, by the grave and thee.
Minggu, 23 Mei 2010
my twentith
i won't waiting for yesterday
because i'm here in this day
i'll waiting for tomorrow
when all burden i throw
i lost my temper
i face a challenger
who are you?
i'm you're
because i'm here in this day
i'll waiting for tomorrow
when all burden i throw
i lost my temper
i face a challenger
who are you?
i'm you're
Sabtu, 08 Mei 2010
Hangul (Korean Alphabet)
Hangul (IPA: [ˈhɑːŋɡʊl], adalah alfabet asli yang digunakan untuk menulis bahasa Korea (dibandingkan dengan sistem Hanja yang dipinjam dari bahasa Tionghoa).
Menurut sejarahnya Hangul diciptakan oleh Sejong Daewang (Raja Besar Sejong) pada tahun 1443.Setiap tanggal 9 Oktober diperiganti sebagai 'Hari Hangul'.
Meskipun tulisan Hangul terlihat seperti tulisan ideografik (tulisan dalam bentuk 'simbol', misalnya bahasa Tionghoa), Hangul sebenarnya merupakan aksara fonetik. Setiap blok huruf Hangul terdiri dari beberapa dari 24 huruf (jamo)— 14 huruf mati (konsonan) dan 10 huruf hidup (vokal). Secara sejarah, alfabet Hangul sebenarnya masih mempunyai 3 konsonan dan 1 buah huruf vokal.
Menurut sejarahnya Hangul diciptakan oleh Sejong Daewang (Raja Besar Sejong) pada tahun 1443.Setiap tanggal 9 Oktober diperiganti sebagai 'Hari Hangul'.
Meskipun tulisan Hangul terlihat seperti tulisan ideografik (tulisan dalam bentuk 'simbol', misalnya bahasa Tionghoa), Hangul sebenarnya merupakan aksara fonetik. Setiap blok huruf Hangul terdiri dari beberapa dari 24 huruf (jamo)— 14 huruf mati (konsonan) dan 10 huruf hidup (vokal). Secara sejarah, alfabet Hangul sebenarnya masih mempunyai 3 konsonan dan 1 buah huruf vokal.
Senin, 26 April 2010
Why translators deserve some credit
Who wrote the Milan Kundera you love? Answer: Michael Henry Heim. And what about the Orhan Pamuk you think is so smart? Maureen Freely. Or the imaginatively erudite Roberto Calasso? Well, that was me.
The translator should do his job and then disappear. The great, charismatic, creative writer wants to be all over the globe. And the last thing he wants to accept is that the majority of his readers are not really reading him.
His readers feel the same. They want intimate contact with true greatness. They don't want to know that this prose was written on survival wages in a maisonette in Bremen, or a high-rise flat in the suburbs of Osaka. Which kid wants to hear that her JK Rowling is actually a chain-smoking pensioner? When I meet readers of my own novels, they are disappointed I translate as well, as if this were demeaning to an author they hoped was "important".
There is complicity between globalisation and individualism; we can all watch any film, read any book, wherever made or written, and have the same experience. What a turn-off to be reminded that in fact we need an expert to mediate; what the Chinese get is a mediated version of me; what I'm reading is a mediated Dostoevsky.
Some years ago Kazuo Ishiguro castigated fellow English writers for making their prose too difficult for easy translation. One reason he had developed such a lean style, he claimed, was to make sure his books could be reproduced all over the world.
What if Shakespeare had eased off the puns for his French readers? Or Dickens had worried about getting Micawber-speak into Japanese?
Translation has been even more of an issue for Kundera, concerned his style was being made to sound banal. The translator's "supreme authority", Kundera thundered in Testaments Betrayed, "should be the author's personal style... But most translators obey another authority, that of the conventional version of 'good French, or German or Italian'."
Yet deviation from a linguistic norm only has meaning in the context of the language from which it sprang. When Lawrence writes of an insomniac Gudrun in Women in Love that "she was destroyed into perfect consciousness", he gets his frisson. But what if destruction was understood as a transformation; what if consciousness was seen negatively?
You'll never know exactly what a translator has done. He reads with maniacal attention to nuance and cultural implication, conscious of all the books that stand behind this one; then he sets out to rewrite this impossibly complex thing in his own language, re-elaborating everything, changing everything in order that it remain the same, or as close as possible to his experience of the original. In every sentence the most loyal respect must combine with the most resourceful inventiveness. Imagine shifting the Tower of Pisa into downtown Manhattan and convincing everyone it's in the right place; that's the scale of the task. Writing my own novels has always required a huge effort of organisation and imagination; but, sentence by sentence, translation is intellectually more taxing. On the positive side, the hands-on experience of how another writer puts together his work is worth a year's creative writing classes. It is a loss that few writers "stoop" to translation these days.
Of course, if the translator is poor there will be awkward moments of correspondence (you get the content but not the style); alternatively the prose will be fluent but off the mark (you get style but not content). The translator who is on song – the one who has the deepest understanding of the original and the greatest resources in his own language – brings style and content together in something altogether new that is also astonishingly faithful to its model.
Occasionally, a translator is invited to the festival of individual genius as the guest of a great man whose career he has furthered; made, even. He is Mr Eco in New York, Mr Rushdie in Germany. He is not recognised for the millions of decisions he made, but because he had the fortune to translate Rushdie or Eco. If he did wonderful work for less fortunate authors, we would never have heard of him.
This is why one has to applaud Harvill Secker for launching a prize for younger translators, one of the few prizes to recognise a translator not because he is associated with a famous name, but for translating a selected story more convincingly than others.
Each generation needs its own translators. While a fine work of literature never needs updating, a translation, however wonderful, gathers dust. Reading Pope's Homer, we hear Pope more than Homer. Reading Constance Garnett's Tolstoy, we hear the voice of late-19th-century England. We need to go back to the great works and bring them into our own idiom. To do that we need fresh minds and voices. For a few minutes every year we really must acknowledge that translators are important, and make sure we get the best.
The translator should do his job and then disappear. The great, charismatic, creative writer wants to be all over the globe. And the last thing he wants to accept is that the majority of his readers are not really reading him.
His readers feel the same. They want intimate contact with true greatness. They don't want to know that this prose was written on survival wages in a maisonette in Bremen, or a high-rise flat in the suburbs of Osaka. Which kid wants to hear that her JK Rowling is actually a chain-smoking pensioner? When I meet readers of my own novels, they are disappointed I translate as well, as if this were demeaning to an author they hoped was "important".
There is complicity between globalisation and individualism; we can all watch any film, read any book, wherever made or written, and have the same experience. What a turn-off to be reminded that in fact we need an expert to mediate; what the Chinese get is a mediated version of me; what I'm reading is a mediated Dostoevsky.
Some years ago Kazuo Ishiguro castigated fellow English writers for making their prose too difficult for easy translation. One reason he had developed such a lean style, he claimed, was to make sure his books could be reproduced all over the world.
What if Shakespeare had eased off the puns for his French readers? Or Dickens had worried about getting Micawber-speak into Japanese?
Translation has been even more of an issue for Kundera, concerned his style was being made to sound banal. The translator's "supreme authority", Kundera thundered in Testaments Betrayed, "should be the author's personal style... But most translators obey another authority, that of the conventional version of 'good French, or German or Italian'."
Yet deviation from a linguistic norm only has meaning in the context of the language from which it sprang. When Lawrence writes of an insomniac Gudrun in Women in Love that "she was destroyed into perfect consciousness", he gets his frisson. But what if destruction was understood as a transformation; what if consciousness was seen negatively?
You'll never know exactly what a translator has done. He reads with maniacal attention to nuance and cultural implication, conscious of all the books that stand behind this one; then he sets out to rewrite this impossibly complex thing in his own language, re-elaborating everything, changing everything in order that it remain the same, or as close as possible to his experience of the original. In every sentence the most loyal respect must combine with the most resourceful inventiveness. Imagine shifting the Tower of Pisa into downtown Manhattan and convincing everyone it's in the right place; that's the scale of the task. Writing my own novels has always required a huge effort of organisation and imagination; but, sentence by sentence, translation is intellectually more taxing. On the positive side, the hands-on experience of how another writer puts together his work is worth a year's creative writing classes. It is a loss that few writers "stoop" to translation these days.
Of course, if the translator is poor there will be awkward moments of correspondence (you get the content but not the style); alternatively the prose will be fluent but off the mark (you get style but not content). The translator who is on song – the one who has the deepest understanding of the original and the greatest resources in his own language – brings style and content together in something altogether new that is also astonishingly faithful to its model.
Occasionally, a translator is invited to the festival of individual genius as the guest of a great man whose career he has furthered; made, even. He is Mr Eco in New York, Mr Rushdie in Germany. He is not recognised for the millions of decisions he made, but because he had the fortune to translate Rushdie or Eco. If he did wonderful work for less fortunate authors, we would never have heard of him.
This is why one has to applaud Harvill Secker for launching a prize for younger translators, one of the few prizes to recognise a translator not because he is associated with a famous name, but for translating a selected story more convincingly than others.
Each generation needs its own translators. While a fine work of literature never needs updating, a translation, however wonderful, gathers dust. Reading Pope's Homer, we hear Pope more than Homer. Reading Constance Garnett's Tolstoy, we hear the voice of late-19th-century England. We need to go back to the great works and bring them into our own idiom. To do that we need fresh minds and voices. For a few minutes every year we really must acknowledge that translators are important, and make sure we get the best.
Kamis, 15 April 2010
A Lovely Darkness
That day was so silent. There is no voice but my neighbors's and my voice. It's about 7 o'clock pm. My neighbors are three elementary school students who often came to my house to study or more precisely, they 're compelled to study. They're Lala, Nabil, and Rino. I was the oldest of all. I was in senior high school at that time. Unfortunately, the electricity was off and we're only accompanied by a bar of candle . My parent were still in my grandma's house. Then, while waiting for electricity got on, each of my little friends began telling his/her own experience .
The first is Lala's story. She was in grade 6. She told us about her night mare. At that time, the candle bar was still so high. It's about 25 cm. In her night mare, she was in a wartime. Corpses were every where. She was alone and was so scared. At the end, she's fallen by a helicopter and fortunately she was awaken up. Before sleeping, she had just watched a movie titled “pearl harbor”. Perhaps, she will be flowering in her dream if previously she watched a drama movie.
The second is Nabil's story. He was in grade 2. It wasn't realized that the candle was just 15 cm left. At the time, Nabil began imagining his ideal. He said that he wanted to be a pilot because he wanted to go to England, Spain, and Italy to watch football. However in fact, he was just a height phobian, even in climbing a stairway. He must evaluate his ideal.
It's arrived for Rino's turn. He was still in grade 1. He also wanted to tell his ideal. At the same time,strong wind blown the window and it made the candle light been off. They screamed spontaneously. I turned on my hand phone light. I saw a broken 10 cm candle. So, Rino went on his story with my HP light. He told that he wanted to be a foreign worker or TKI. He said that a TKI always had a lot of money. It was surprising me. That's so innocent ideal. It might be influenced by his environment.
About 900 seconds later, my parent came with a pack of candle. However, it was useless because their coming were followed by the turning on of electricity. It was about 9 o'clock pm. Finally, I accompanied them to go home safely.
The first is Lala's story. She was in grade 6. She told us about her night mare. At that time, the candle bar was still so high. It's about 25 cm. In her night mare, she was in a wartime. Corpses were every where. She was alone and was so scared. At the end, she's fallen by a helicopter and fortunately she was awaken up. Before sleeping, she had just watched a movie titled “pearl harbor”. Perhaps, she will be flowering in her dream if previously she watched a drama movie.
The second is Nabil's story. He was in grade 2. It wasn't realized that the candle was just 15 cm left. At the time, Nabil began imagining his ideal. He said that he wanted to be a pilot because he wanted to go to England, Spain, and Italy to watch football. However in fact, he was just a height phobian, even in climbing a stairway. He must evaluate his ideal.
It's arrived for Rino's turn. He was still in grade 1. He also wanted to tell his ideal. At the same time,strong wind blown the window and it made the candle light been off. They screamed spontaneously. I turned on my hand phone light. I saw a broken 10 cm candle. So, Rino went on his story with my HP light. He told that he wanted to be a foreign worker or TKI. He said that a TKI always had a lot of money. It was surprising me. That's so innocent ideal. It might be influenced by his environment.
About 900 seconds later, my parent came with a pack of candle. However, it was useless because their coming were followed by the turning on of electricity. It was about 9 o'clock pm. Finally, I accompanied them to go home safely.
Rabu, 14 April 2010
KIMCHI
Kimchi adalah makanan tradisional Korea, salah satu jenis asinan sayur hasil fermentasi yang diberi bumbu pedas. Setelah digarami dan dicuci, sayuran dicampur dengan bumbu yang dibuat dari udang krill, kecap ikan, bawang putih, jahe dan bubuk cabai merah.
Sayuran yang paling umum dibuat kimchi adalah sawi putih dan lobak. Di zaman dulu, kimchi diucapkan sebagai chim-chae (Hangul: 침채; Hanja: 沈菜) yang berarti "sayuran yang direndam."
Di Korea, kimchi selalu dihidangkan di waktu makan sebagai salah satu jenis banchan yang paling umum. Kimchi juga digunakan sebagai bumbu sewaktu memasak sup kimchi (kimchi jjigae), nasi goreng kimchi (kimchi bokkeumbap), dan berbagai masakan lain.
Literatur tertua yang memuat tentang kimchi adalah buku puisi Tiongkok berjudul Sikyeong (hangul:시경 hanja:詩經). Pada waktu itu, kimchi disebut "Ji" sebelum nantinya dikenal sebagai "chimchae".
Asinan berwarna hijau merupakan bentuk awal kimchi sewaktu cabai belum dikenal di Korea. Setelah dicampur dengan garam, sayuran seperti kubis dimasukkan ke dalam guci tanah liat setelah diberi garam, dan dipendam di dalam tanah sebagai persediaan makanan sewaktu sayuran segar tidak tersedia di musim dingin. Orang Korea baru mengenal cabai berkat jasa pedagang Portugis dari Jepang yang datang ke Korea di abad ke-16.
Pedagang Portugis menyebarluaskan cabai ke seluruh dunia. Kapal-kapal Portugis berlayar melewati Tanjung Harapan di Afrika hingga sampai di India di tahun 1498. Selanjutnya, cabai asal Amerika Selatan dibawa ke Asia melalui berbagai pelabuhan di Afrika atau langsung menyeberangi Samudra Pasifik. Di tahun 1540, pedagang Portugis sudah berdagang di Indonesia dan cabai dibawa ke Tiongkok beberapa lama kemudian. Pedagang Portugis baru sampai di Jepang dan Korea pada tahun 1549. Filipina mendapat giliran mengenal cabai di tahun 1564 sewaktu dilewati jalur perdagangan kapal Spanyol yang membawa cabai ke kepulauan Melanesia dan kawasan Mikronesia.
Resep asinan sayuran dan labu sudah dimuat dalam buku resep terbitan tahun 1670, tapi tidak menggunakan cabai. Di dalam catatan sejarah abad ke-17 ditulis tentang 11 jenis kimchi, sedangkan cabai sebagai bahan kimchi mungkin baru populer bertahun-tahun kemudian (menurut perkiraan 200 tahun kemudian). Sebelum abad ke-19, kimchi hanya dibuat dari sayuran asli Korea karena sawi putih kemungkinan besar tidak dikenal di Korea sampai abad ke-19.
Kimchi dibuat dari beraneka ragam bahan sesuai dengan jenis kimchi dan selera orang yang membuatnya. Kimchi yang paling dikenal di luar Korea adalah baechu kimchi yang dibuat dari sawi putih (배추, baechu) dan lobak (무, mu) dicampur bawang putih (마늘, maneul), cabai merah (빨간고추, ppalgangochu), daun bawang (파, pa), cumi-cumi (오징어 ojingeo), tiram (굴, gul) atau makanan laut lain, jahe (생강, saenggang), garam (소금, sogeum), dan gula (설탕, seoltang).
Museum Kimchi Pulmuone yang ada di Seoul mencatat 187 jenis kimchi, mulai dari kimchi zaman dulu hingga kimchi zaman sekarang. Variasi kimchi yang mudah dikenali, misalnya: ggakdugi (깍두기) dengan bahan utama lobak dipotong berbentuk kubus, kimchi ketimun yang disebut oisobaegi (오이소배기), dan kkaennip (깻잎) berupa susunan daun perilla yang direndam dengan kecap asin, cabai merah, bawang putih, dan daun bawang.
Bakteri laktobasilus yang berperan dalam proses fermentasi kimchi menghasilkan asam laktat dengan kadar yang lebih tinggi daripada yogurt.
Kimchi dibuat dari berbagai jenis sayuran sehingga mengandung kadar serat makanan yang tinggi, namun rendah kalori. Sebagian besar kimchi dibuat dari sayuran seperti bawang bombay, bawang putih, dan cabai yang baik untuk kesehatan. Kimchi kaya dengan vitamin A, thiamine (B1), riboflavin (B2), kalsium, zat besi[5][6], dan bakteri asam laktat yang baik untuk pencernaan. Pada tahun 2000, strain bakteri asam laktat (strain MT-1077T) penghasil bakteriosin yang diisolasi dari kimchi diberi nama Lactobacillus kimchi.[7][8][9]
Kimchi disebut sebagai salah satu dari lima "makanan tersehat di dunia" menurut majalah Health Magazine. Kimchi kaya dengan vitamin, membantu pencernaan, dan kemungkinan dapat mencegah kanker.[10] Sayuran yang sudah lama diketahui baik untuk kesehatan, apalagi ditambah kultur bakteri hidup pada kimchi yang lebih banyak dari yogurt. Pemakaian cabai merah dalam jumlah banyak pada kimchi juga sering disebut-sebut baik untuk kesehatan.
Terus Gimana dong cara membuat Kimci?? Nih dia.... :~ :z
bahan :
2.3 kg sawi putih belah 2
100 gr garam
Rendam sawi dengan garam, kalau bisa ditindih agar sawi terendam air, selama semalam.
Bahan lainnya :
50 gr daun bawang potong gak panjang
100 gr bawang putih, haluskan
40 gr chili powder
2 cm jahe dihaluskan
250 cc light soysauce/kimchi sauce
50 gr gula pasir
beberapa tetes minyak wijen, pada saat penyajian.
bubur tepung beras :
100 gr tepung beras
1200 cc air
bikin bubur dari campuran keduanya, biarkan dingin
Campur bubur tadi dengan , cabe bubuk/halus, bawang putih, jahe yang sudah dihaluskan, gula , garam.
Tiriskan sawi yang sudah semalam direndam.
Olesi dengan campuran bubur tadi setiap lembarnya.
Atur rapih dalam wadah, biarkan semalam diudara luar sampai terlihat airnya menjadi banyak, lalu masukkan dalam lemari es semalam lagi, baru dapat disajikan.
Sajikan dengan ditetesi minyak wijen...
Asal tahu juga nih. Ada beberapa fakta tentang Kinchi....! :~
* Di Korea dikenal lemari es khusus untuk kimchi. Sebagian besar orang Korea membuat kimchi dalam jumlah banyak sewaktu panen sawi putih di musim dingin sehingga perlu lemari es khusus untuk menyimpan persediaan kimchi selama setahun.
* Orang Korea sering mengucapkan "kimchi" sewaktu berfoto agar terlihat sedang tersenyum sebagai pengganti kata "cheese" yang sering diucapkan penutur bahasa Inggris.
Sayuran yang paling umum dibuat kimchi adalah sawi putih dan lobak. Di zaman dulu, kimchi diucapkan sebagai chim-chae (Hangul: 침채; Hanja: 沈菜) yang berarti "sayuran yang direndam."
Di Korea, kimchi selalu dihidangkan di waktu makan sebagai salah satu jenis banchan yang paling umum. Kimchi juga digunakan sebagai bumbu sewaktu memasak sup kimchi (kimchi jjigae), nasi goreng kimchi (kimchi bokkeumbap), dan berbagai masakan lain.
Literatur tertua yang memuat tentang kimchi adalah buku puisi Tiongkok berjudul Sikyeong (hangul:시경 hanja:詩經). Pada waktu itu, kimchi disebut "Ji" sebelum nantinya dikenal sebagai "chimchae".
Asinan berwarna hijau merupakan bentuk awal kimchi sewaktu cabai belum dikenal di Korea. Setelah dicampur dengan garam, sayuran seperti kubis dimasukkan ke dalam guci tanah liat setelah diberi garam, dan dipendam di dalam tanah sebagai persediaan makanan sewaktu sayuran segar tidak tersedia di musim dingin. Orang Korea baru mengenal cabai berkat jasa pedagang Portugis dari Jepang yang datang ke Korea di abad ke-16.
Pedagang Portugis menyebarluaskan cabai ke seluruh dunia. Kapal-kapal Portugis berlayar melewati Tanjung Harapan di Afrika hingga sampai di India di tahun 1498. Selanjutnya, cabai asal Amerika Selatan dibawa ke Asia melalui berbagai pelabuhan di Afrika atau langsung menyeberangi Samudra Pasifik. Di tahun 1540, pedagang Portugis sudah berdagang di Indonesia dan cabai dibawa ke Tiongkok beberapa lama kemudian. Pedagang Portugis baru sampai di Jepang dan Korea pada tahun 1549. Filipina mendapat giliran mengenal cabai di tahun 1564 sewaktu dilewati jalur perdagangan kapal Spanyol yang membawa cabai ke kepulauan Melanesia dan kawasan Mikronesia.
Resep asinan sayuran dan labu sudah dimuat dalam buku resep terbitan tahun 1670, tapi tidak menggunakan cabai. Di dalam catatan sejarah abad ke-17 ditulis tentang 11 jenis kimchi, sedangkan cabai sebagai bahan kimchi mungkin baru populer bertahun-tahun kemudian (menurut perkiraan 200 tahun kemudian). Sebelum abad ke-19, kimchi hanya dibuat dari sayuran asli Korea karena sawi putih kemungkinan besar tidak dikenal di Korea sampai abad ke-19.
Kimchi dibuat dari beraneka ragam bahan sesuai dengan jenis kimchi dan selera orang yang membuatnya. Kimchi yang paling dikenal di luar Korea adalah baechu kimchi yang dibuat dari sawi putih (배추, baechu) dan lobak (무, mu) dicampur bawang putih (마늘, maneul), cabai merah (빨간고추, ppalgangochu), daun bawang (파, pa), cumi-cumi (오징어 ojingeo), tiram (굴, gul) atau makanan laut lain, jahe (생강, saenggang), garam (소금, sogeum), dan gula (설탕, seoltang).
Museum Kimchi Pulmuone yang ada di Seoul mencatat 187 jenis kimchi, mulai dari kimchi zaman dulu hingga kimchi zaman sekarang. Variasi kimchi yang mudah dikenali, misalnya: ggakdugi (깍두기) dengan bahan utama lobak dipotong berbentuk kubus, kimchi ketimun yang disebut oisobaegi (오이소배기), dan kkaennip (깻잎) berupa susunan daun perilla yang direndam dengan kecap asin, cabai merah, bawang putih, dan daun bawang.
Bakteri laktobasilus yang berperan dalam proses fermentasi kimchi menghasilkan asam laktat dengan kadar yang lebih tinggi daripada yogurt.
Kimchi dibuat dari berbagai jenis sayuran sehingga mengandung kadar serat makanan yang tinggi, namun rendah kalori. Sebagian besar kimchi dibuat dari sayuran seperti bawang bombay, bawang putih, dan cabai yang baik untuk kesehatan. Kimchi kaya dengan vitamin A, thiamine (B1), riboflavin (B2), kalsium, zat besi[5][6], dan bakteri asam laktat yang baik untuk pencernaan. Pada tahun 2000, strain bakteri asam laktat (strain MT-1077T) penghasil bakteriosin yang diisolasi dari kimchi diberi nama Lactobacillus kimchi.[7][8][9]
Kimchi disebut sebagai salah satu dari lima "makanan tersehat di dunia" menurut majalah Health Magazine. Kimchi kaya dengan vitamin, membantu pencernaan, dan kemungkinan dapat mencegah kanker.[10] Sayuran yang sudah lama diketahui baik untuk kesehatan, apalagi ditambah kultur bakteri hidup pada kimchi yang lebih banyak dari yogurt. Pemakaian cabai merah dalam jumlah banyak pada kimchi juga sering disebut-sebut baik untuk kesehatan.
Terus Gimana dong cara membuat Kimci?? Nih dia.... :~ :z
bahan :
2.3 kg sawi putih belah 2
100 gr garam
Rendam sawi dengan garam, kalau bisa ditindih agar sawi terendam air, selama semalam.
Bahan lainnya :
50 gr daun bawang potong gak panjang
100 gr bawang putih, haluskan
40 gr chili powder
2 cm jahe dihaluskan
250 cc light soysauce/kimchi sauce
50 gr gula pasir
beberapa tetes minyak wijen, pada saat penyajian.
bubur tepung beras :
100 gr tepung beras
1200 cc air
bikin bubur dari campuran keduanya, biarkan dingin
Campur bubur tadi dengan , cabe bubuk/halus, bawang putih, jahe yang sudah dihaluskan, gula , garam.
Tiriskan sawi yang sudah semalam direndam.
Olesi dengan campuran bubur tadi setiap lembarnya.
Atur rapih dalam wadah, biarkan semalam diudara luar sampai terlihat airnya menjadi banyak, lalu masukkan dalam lemari es semalam lagi, baru dapat disajikan.
Sajikan dengan ditetesi minyak wijen...
Asal tahu juga nih. Ada beberapa fakta tentang Kinchi....! :~
* Di Korea dikenal lemari es khusus untuk kimchi. Sebagian besar orang Korea membuat kimchi dalam jumlah banyak sewaktu panen sawi putih di musim dingin sehingga perlu lemari es khusus untuk menyimpan persediaan kimchi selama setahun.
* Orang Korea sering mengucapkan "kimchi" sewaktu berfoto agar terlihat sedang tersenyum sebagai pengganti kata "cheese" yang sering diucapkan penutur bahasa Inggris.
Senin, 05 April 2010
The Sonnet Interpretation
Sonnet I
FROM fairest creatures we desire increase,
That thereby beauty's rose might never die,
But as the riper should by time decease,
His tender heir might bear his memory:
But thou, contracted to thine own bright eyes,
Feed'st thy light'st flame with self-substantial fuel,
Making a famine where abundance lies,
Thyself thy foe, to thy sweet self too cruel.
Thou that art now the world's fresh ornament
And only herald to the gaudy spring,
Within thine own bud buriest thy content
And, tender churl, makest waste in niggarding.
Pity the world, or else this glutton be,
To eat the world's due, by the grave and thee.
Sonnet II
When forty winters shall beseige thy brow,
And dig deep trenches in thy beauty's field,
Thy youth's proud livery, so gazed on now,
Will be a tatter'd weed, of small worth held:
Then being ask'd where all thy beauty lies,
Where all the treasure of thy lusty days,
To say, within thine own deep-sunken eyes,
Were an all-eating shame and thriftless praise.
How much more praise deserved thy beauty's use,
If thou couldst answer 'This fair child of mine
Shall sum my count and make my old excuse,'
Proving his beauty by succession thine!
This were to be new made when thou art old,
And see thy blood warm when thou feel'st it cold.
FROM fairest creatures we desire increase,
That thereby beauty's rose might never die,
But as the riper should by time decease,
His tender heir might bear his memory:
But thou, contracted to thine own bright eyes,
Feed'st thy light'st flame with self-substantial fuel,
Making a famine where abundance lies,
Thyself thy foe, to thy sweet self too cruel.
Thou that art now the world's fresh ornament
And only herald to the gaudy spring,
Within thine own bud buriest thy content
And, tender churl, makest waste in niggarding.
Pity the world, or else this glutton be,
To eat the world's due, by the grave and thee.
Sonnet II
When forty winters shall beseige thy brow,
And dig deep trenches in thy beauty's field,
Thy youth's proud livery, so gazed on now,
Will be a tatter'd weed, of small worth held:
Then being ask'd where all thy beauty lies,
Where all the treasure of thy lusty days,
To say, within thine own deep-sunken eyes,
Were an all-eating shame and thriftless praise.
How much more praise deserved thy beauty's use,
If thou couldst answer 'This fair child of mine
Shall sum my count and make my old excuse,'
Proving his beauty by succession thine!
This were to be new made when thou art old,
And see thy blood warm when thou feel'st it cold.
Kamis, 25 Maret 2010
Triangle of Love, Emotion, and Art
Basically, love is blood in art works veins. It is inherent in the muscles of master pieces. For instances, Taj mahal is love present from Syah Jehan to his wife mumtaz mahal, Monalisa is da vinci’s masterpiece about his imaginative beautiful girl , Ka’bah is proof of love of prophet Ibrahim and his son for God, Colloseum is witness of roman’s love in bloodshed, and Borobudur is samaratungga’s people effort to preserve their beloved religion, Budha, under a Hindu king’s reign. Love is their fuel in creating master pieces. In my view, universal and inspiring are two reasons why love is always be main theme of most art work.
Love is universal. Objects of love isn’t narrowly to someone, it can be something, somewhere or even hobbies. Besides, every living creature , not only human being, on earth owns love in each unique character. In fact, whatever creature it is, love is always means desire of owning and sincere sacrifice. While as human, because of universality of love, we can imagine or feel what an artist feel when we enjoyed an art work. It’s possible that they have a similar love story. That similarity encourages great acceptance of art. So, every thing come from heart will reach heart as well.
Love is inspiration. Inspiration is not exclusively happiness. Sadness and under pressure condition often raise great job. The two deep feelings could emerge energy. For instance, when we were sad, we could stand for days with no food. There are some Indonesian songs told about in love people who forget to eat. Writers could keep writing without asleep for hours. Glenn Fredly won’t be like today without broken heart and there is no broken heart without love. Moreover, the fabulous Kahlil Gibran won’t be legend without being in love. In short, every single feeling in our life is because of love. We hate crime because we love virtue, we’re sad because we lose something or someone we love, and we’re cheerful because of love as well.
Finally, love is limited letters with unlimited meaning. It doesn’t matter about what the meaning is. The matter is whether it will improve us or destroy us. Whatsoever happened to us, happiness is our right. It’s a big loss to spend our time not happily. But laugh is not laugh without tears.
Love is universal. Objects of love isn’t narrowly to someone, it can be something, somewhere or even hobbies. Besides, every living creature , not only human being, on earth owns love in each unique character. In fact, whatever creature it is, love is always means desire of owning and sincere sacrifice. While as human, because of universality of love, we can imagine or feel what an artist feel when we enjoyed an art work. It’s possible that they have a similar love story. That similarity encourages great acceptance of art. So, every thing come from heart will reach heart as well.
Love is inspiration. Inspiration is not exclusively happiness. Sadness and under pressure condition often raise great job. The two deep feelings could emerge energy. For instance, when we were sad, we could stand for days with no food. There are some Indonesian songs told about in love people who forget to eat. Writers could keep writing without asleep for hours. Glenn Fredly won’t be like today without broken heart and there is no broken heart without love. Moreover, the fabulous Kahlil Gibran won’t be legend without being in love. In short, every single feeling in our life is because of love. We hate crime because we love virtue, we’re sad because we lose something or someone we love, and we’re cheerful because of love as well.
Finally, love is limited letters with unlimited meaning. It doesn’t matter about what the meaning is. The matter is whether it will improve us or destroy us. Whatsoever happened to us, happiness is our right. It’s a big loss to spend our time not happily. But laugh is not laugh without tears.
Rabu, 24 Maret 2010
every body is perfect
Whatsoever happened to you, happiness is your right. It’s a big loss to spend your time not happily. But laugh is not laugh without tears.
It doesn’t matter that you are interested in many subjects, but the matter is if you can’t master it all.
The real you is when nobody look at you. So, if you want to be yourself, just behave the same as when nobody looks at you.
Don’t endeavor to be the Lord while having intention to improve every thing and every one. Just improve yourself.
It’s not easy to get your ideal but the more not easy is to be proper one for your ideal.
Talent isn’t anything but intention is.
Top of human being virtue is when they have been free of getting praise desire and getting insult fear as far as they do what their intuition says.
Be satisfied in process is a sign of getting satisfying result.
It doesn’t matter that you are interested in many subjects, but the matter is if you can’t master it all.
The real you is when nobody look at you. So, if you want to be yourself, just behave the same as when nobody looks at you.
Don’t endeavor to be the Lord while having intention to improve every thing and every one. Just improve yourself.
It’s not easy to get your ideal but the more not easy is to be proper one for your ideal.
Talent isn’t anything but intention is.
Top of human being virtue is when they have been free of getting praise desire and getting insult fear as far as they do what their intuition says.
Be satisfied in process is a sign of getting satisfying result.
Selasa, 23 Maret 2010
analogy of football and studying
Hooligans = diligent students, both are fanatic fans of an idea. Hooligans love
football and diligent students love subject. So, football= subject.
I imagine my class as Old trafford, my physic teacher as Ferguson, and my headmaster as Malcolm Glazer. What football players do truly is just exercising every day, and facing battle at week end.I am student. My obligation is just getting subjects, and having exam or exercise every week. they kick and run, I listen and write.
Math = free kick. both need accounting. physic=heading technique. it's the most difficult one. biology=technique for avoiding tackles or curing injures.
will they win their match? will I win my exam?
they need a great team work. from one leg to another and so on. I need my senses team work. from ear to eyes to fingers until my leg move forward to collect my answer.
it's me. I'm a football lover.
football and diligent students love subject. So, football= subject.
I imagine my class as Old trafford, my physic teacher as Ferguson, and my headmaster as Malcolm Glazer. What football players do truly is just exercising every day, and facing battle at week end.I am student. My obligation is just getting subjects, and having exam or exercise every week. they kick and run, I listen and write.
Math = free kick. both need accounting. physic=heading technique. it's the most difficult one. biology=technique for avoiding tackles or curing injures.
will they win their match? will I win my exam?
they need a great team work. from one leg to another and so on. I need my senses team work. from ear to eyes to fingers until my leg move forward to collect my answer.
it's me. I'm a football lover.
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