Dictation

A.    Definition Of Dictation

Dictation is technique used in both language teaching and language testing in which a passage is read aloud to student or test taker, with pauses during which they must try to write down what they have heard accurately as possible. Basically, this is a technique used to know how much student ability to recognize and identify the spoken language. The act of dictating; the act or practice of prescribing; also that which is dictated.[1] The speaking to, or the giving orders to, in an overbearing manner; authoritative utterance; as, his habit, even with friends, was that of dictation.[2]

B.    Homophone

Homophone means "sounds the same," and a homophone is a word that sounds the same as another word, while having a different spelling and a different meaning[3] or Homophones are words that have exactly the same sound (pronunciation) but different meanings and (usually) spelling.Many homophone examples turn up in lists of frequently confused words. They are the words that make up one of the largest classes of typo. Some examples of common homophones that people often substitute for each other when writing include the following:[4]For example, the following two words have the same sound, but different meanings and spelling:

-          hour

-          our

In the next example, the two words have the same sound and spelling, but different meanings:

-          bear (the animal)

-          bear (to carry)

Usually homophones are in groups of two (our, hour), but very occasionally they can be in groups of three (to, too, two) or even four. If we take our "bear" example, we can add another word to the group"

-          bare (naked)

-          bear (the animal)

-          bear (to tolerate)

"Our bear cannot bear to be bare at any hour."

The word homophone is made from two combining forms:

• homo- (from the Greek word "homos", meaning "same"
• -phone (from the Greek word "phone", meaning "voice" or "sound"

You will see many other English words using one or other of these combining forms.

The following list of 70 groups of homophones contains only the most common homophones, using relatively well-known words. These are headwords only. No inflections (such as third person singular "s" or noun plurals) are included.

air	heir
Faisle	isle
ante-	anti-
eye	I
bare	bear	bear
be	bee
brake	break
buy	by
cell	sell
cent	scent
cereal	serial
coarse	course
complement	compliment
dam	damn
dear	deer
die	dye
fair	fare
fir	fur
flour	flower
for	four
hair	hare
heal	heel
hear	here
him	hymn
hole	whole
hour	our
idle	idol
in	inn
knight	night
knot	not
know	no
made	maid
mail	male
meat	meet
morning	mourning
none	nun
oar	or
one	won
pair	pear
peace	piece
plain	plane
poor	pour
pray	prey
principal	principle
profit	prophet
real	reel
right	write
root	route
sail	sale
sea	see
seam	seem
sight	site
sew	so	sow
shore	sure
sole	soul
some	sum
son	sun
stair	stare
stationary	stationery
steal	steel
suite	sweet
tail	tale
their	there
to	too	two
toe	tow
waist	waste
wait	weight
way	weigh
weak	week
wear	where

NB: In a few cases, a third homophone, although possible, has not been included for simplicity. Different varieties and accents of English may produce variations in some of these pronunciations. The homophones listed here are based on British English.[5]

C.    Constraction

A contraction is a shortened form of one or two words (one of which is usually a verb). In a contraction, an apostrophe takes the place of the missing letter or letters. Some contractions are: I'm (I am), can't (cannot), how's (how is), and Ma'am (Madam).

For example, "don't" is a contraction that is short for "do not"; the apostrophe in "don't" takes the place of the missing "o". Another example is "o'clock," a contraction "of the clock." A less common example of a contraction is "jack-o'-lantern," short for "jack-of-lantern"; in it, the apostrophe takes the place of the missing "f" in "of." [6]

List o' Common Contractions:

BE WILL WOULD HAVE HAD I I'm I am I'll I will I'd I would I've I have I'd I had you you're you are you'll you will you'd you would you've you have you'd you had he he's he is he'll he will he'd he would he's he has he'd he had she she's she is she'll she will she'd she would she's she has she'd she had it it's (or 'tis) it is it'll it will it'd it would it's it has it'd it had we we're we are we'll we will we'd we would we've we have we'd we had they they're they are they'll they will they'd they would they've they have they'd they had that that's that is that'll that will that'd that would that's that has that'd that had who who's who is who'll who will who'd who would who's who has who'd who had what what's/what're what is/what are what'll what will what'd what would what's what has what'd what had where where's where is where'll where will where'd where would where's where has where'd where had when when's when is when'll when will when'd when would when's when has when'd when had why why's why is why'll why will why'd why would why's why has why'd why had how how's how is how'll how will how'd how would how's how has how'd how had WORDS DOUBLE CONTRACTION she would have she'd've (colloquial) it is not 'tisn't (archaic)

WORDS (negating a verb) CONTRACTION is not isn't are not aren't was not wasn't were not weren't have not haven't has not hasn't had not hadn't will not won't would not wouldn't do not don't does not doesn't did not didn't cannot can't could not couldn't should not shouldn't might not mightn't must not mustn't WORDS (woulda-shoulda-coulda) CONTRACTION would have would've should have should've could have could've might have might've must have must've WORDS (odd ones) CONTRACTION of o' of the clock o'clock madam ma'am never-do-well ne'er-do-well cat-of-nine-tails cat-o'-nine-tails jack-of-the-lantern jack-o'-lantern will-of-the-wisp will-o'-the-wisp it was 'twas (archaic)

D.    Compound Word

1.      Definition

In English, words, particularly adjectives and nouns, are combined into compound structures in a variety of ways. And once they are formed, they sometimes metamorphose over time. A common pattern is that two words — fire fly, say — will be joined by a hyphen for a time — fire-fly — and then be joined into one word — firefly. In this respect, a language like German, in which words are happily and immediately linked one to the other, might seem to have an advantage. There is only one sure way to know how to spell compounds in English: use an authoritative dictionary.

There are three forms of compound words:

-          the closed form, in which the words are melded together, such as firefly, secondhand, softball, childlike, crosstown, redhead, keyboard, makeup, notebook;

-          the hyphenated form, such as daughter-in-law, master-at-arms, over-the-counter, six-pack, six-year-old, mass-produced;

-          and the open form, such as post office, real estate, middle class, full moon, half sister, attorney general

The kinds of compound word :

·         Compound adjective (N+Adj, Adj+Adj, Prep+Adj)

Example :

a.       Snowwhite    = Snow (N) + White (Adj)

b.      Deadcertain   = Dead (Adj) + Certain (Adj)

c.       Deadright       = Dead (Adj) +  right (Adj)

d.      Countrywide              = Country (N) + wide (Adj)

·         Compound Noun :

Example :

a.       Wallpaper      = Wall (N) + paper (N)

b.      Background  = Back (N) +  ground

c.       Toothbrush    = Tooth (N) +  brush

d.      Whiteboard   = White (N) +  board

·         Compound Verb

Example :

a.       Butterfly         = Butter (N) + fly (V)

b.      Underwrite      = Under (P) + write (V)

c.       Undergo          = Under (P) + go (V)

d.      Babysit            = Baby (N) + sit (V)[7]

E.     Regular And Irregular Verb

This is more a question of vocabulary than of grammar. The only real difference between regular and irregular verbs is that they have different endings for their past tense and past participle forms. For regular verbs, the past tense ending and past participle ending is always the same: -ed. For irregular verbs, the past tense ending and the past participle ending is variable, so it is necessary to learn them by heart.[8]

To make the past tense or past participle form of most verbs (regular verbs) we simply add “ed” at the end.

Examples using the verb “walk”:

Past Tense: I walked through the maze.

Past Participle: I have walked through the maze.

(The past participle form is used in the present perfect, past perfect, and future perfect tenses. The above example is written in the present perfect tense.)

Irregular verbs are not that simple. We sometimes need a dictionary to help us write the different forms of irregular verbs.

Examples using the verb “see”:

Past Tense: We saw the secret maps.

Past Participle: We have seen the secret maps.

Look up the word “see” in the dictionary. Notice that the different forms of the word are given. Look up “walk.” Notice that the dictionary doesn’t bother to give the different forms of regular verbs.[9]

F.   Idiom

1.      What are idioms?

An idiom is a phrase where the words together have a meaning that is different from the dictionary definitions of the individual words. An expression like turn up (meaning ‘arrive’), break even (meaning ‘make neither a profit nor a loss’) or a can be difficult to understand, because its meaning is different from the meanings of the separate words in the expression. (if you know break and even, this does not help you at all to understand break even.) Expressions like these are called ‘idioms’. Idioms are ussualy special  to one language an can not be translated word for word (though related languages may share some idioms).

2.      Situational language

The expressions that are used in typical everyday situations are often idiomatic in the same sense. With the help of a dictionary and grammar, one could invent various possible ways of expressing a particular idea, but generally there are only one or two ways that happen to be used by English speakers, and one has to know what they are in order to speak or write naturally. Some examples:

Ø  Could you check the oil? (more natural than could you inspect the oil? Or could you see how much oil there is in engine?)

Ø  Is it a direct flight or do I have to change? (More natural than does the plane go straight there or another one?)

Ø  Sorry I kept you waiting. (more natural than sorry I made you wait.)

Ø  Could I reserve a table for three for eight o’clock? ( more natural than could you keep me a table for three persons for eight o’clock?)

3.      Using Idiom

Idiom are common in all kinds of English, formal and informal, spoken and written. However, informal spoken language is often very idiomatic.

Students should not worry because they do not know all the collections and other idiomatic expressions that are commonly used by English speakers. If they use non – idiomatic ways of expressing ideas, they will normally be understood, and English speakers do not expect foreigners to speak perfectly idiomatically or correctly. It is therefore not necessary for students to make a special effort to learn and use idioms:  they will learn the most common idiomatic expressions naturally along with the rest of their speech and writing with idioms the effect will probably be every strange.

Note that books of idioms often contain expressions which are slangy, rare or out of date, and which students should avoid unless they understand exactly how and when the expressions are used. This is particularly true of colourful idioms like raining cats and dofs, hit the nail on the head, eat like a horse or as old as the hills.[10]

4.      List  Of Idioms

Above all                                                yang terutama, yang terpenting

All out                                                     mati-matian, habis-habisan

All time                                                   selamanya, sepanjang masa

As  one                                                    serentak

All the day                                              sepenuhnya

Ahead of                                                 lebih maju dari, melebihi

To back out                                             mengundurkan diri

To back up                                              mendukung

Back and forth                                        mondar-mandir

To break down                                        mogok, tak berfungsi

To break off                                            memutuskan

To break out                                            ( meletus,berkobar )

To bring alog                                           mengajak, membawa serta

To bring up                                             membesarkan, mengasuh mendidik

By change                                               secara kebetulan, tanpa rencana

By mistake                                              karena kekeliuran

By non means                                         sama sekali tidak

To call at                                                 singgah, mampir

To call back                                            menelpon kembali

To call down                                           memarahi, mendamprat

To call for                                               menjemput

To call in                                                 memanggil kerumah

To call on                                                mengunjungi, singgah

G.    Passive Voice

1.     What is Passive Voice?

Passive Voice is a structure we use in English where the subject becomes the object.

In the active voice, the subject  does the action.

àAlice wears a red dress.

à The cat eats the mouse.

     Who does the action in this sentence?

     Who eats the mouse?  The cat

It performs the action. We see the action in the cat’s point of view.

Now, Passive Voice expresses an action done to a subject. That means the subject receives the action. The object becomes the subject of the passive sentence.

àThe mouse is eaten by the cat.

In this sentence the mouse is the subject.

We see the action in the mouse’s point of view.

2.     When do we use Passive Voice?

We use Passive Voice when;

     àwe want to place emphasis on the object or objects,

     àwe do not know who is performing the action, or it is not apparent who is performing the action,

     àwe express a general idea.

To talk about the actions or events when we want to emphasize what happened, or who it happened to, rather than who or what caused the action.

3.     Why do we use Passive Voice?

-          We vary our speech in English.

-          It is usually used to say what has happened when talking about events.

-          It is often used on the news, in newspapers, manuals and recipes.

-          It gives a different style and variation to language. At times it just sounds better.

4.     How do we form Passive Voice?

‘to be’ + the past participle.

We form Passive Voice by putting the verb “to be”  into the same tense as the active verb and adding the past participle of the active verb.

àShakespeare wrote Hamlet.

     Hamlet was written by Shakespeare.

àBugsy stole the money early this morning.

     The money was stolen early this morning.

àShakespeare wrote Hamlet.

     Hamlet was written by Shakespeare.

àEdison invented the light bulb.

     The light bulb was invented by Edison.

We can omit ‘by’ if we don’t know who is performing the action, or it’s not apparent.

àThey killed the president.

     The president was killed.

àThey’ve reduced the prices of many things in the shops.

     The prices of many things have been reduced in the shops.

-          We sometimes make passive sentences with ‘get’ instead of ‘be’

àThe money was stolen

     The money got stolen

à Mom, We were playing football and the window got broken.

-          We generally use the passive because the agent is not important or not known.

àThe house was built in 1925.

     (Agent unknown / unimportant)

àEnglish is spoken in Canada.

     (Specific agent unknown / unimportant)

-          However, we can include the agent after the verb in a passive sentence, using the preposition ‘BY’

àMy lunch was stolen by a gorilla from the circus!

àThe new hospital is going to be opened by the Queen herself. [11]

H.    Reconstruction Text

GENRE	SOCIAL FUNCTION	GENERIC STRUCTURE	SIGNIFICANT LEXICOGRAMMATICAL FEATURES
Recount	To retell events for the purpose of informing or entertaining	·         Orientation: provides the setting and introduces participants ·         Events: tell what happened, in what sequence. ·         Re-orientation: optional-closure of events	· Focus on specific Participants · Use of material processes · Circumstances of time and place · Use of past tense · Focus on temporal sequence.
Report	To describe the way things are, with reference to a range of natural, man-made and social phenomena in our environment.	·         General classification: tells what the phenomenon under discussion is. ·         Description tells what the phenomenon under discussion is like in terms of (1) parts, (2) qualities, (3) habits or behaviors, if living; uses, if non-natural.	·         Focus on Generic Participants. ·         Use of Relational Processes to state what is and that which it is. ·         Use of simple present tense (unless extinct). ·         No temporal sequence.
Discussion	To present (at least) two points of view about an issue.	·         Issue: ·         Statement ·         Preview ·         Arguments for and against or Statement of differing points of view. ·         Point ·         Elaboration ·         Conclusion or Recommendation.	·        Focus on generic human and generic non-human Participants. ·   Use of: ·         Material Processes, e.g. has produced, have developed, to feed. ·         Relational Processes, e.g., is, could have, cause, are. ·         Mental Processes, e.g., feel. Use of Comparative: contrastive and Consequential conjunctions. Reasoning expressed as verbs and nouns (abstraction).
Explanation	To explain the processes involved in the formation or workings of natural or sociocultural phenomena.	A general statement to position the reader. A sequenced explanation of why or how something occurs.	Focus on generic, non-human Participants. Use mainly of Material and Relational Processes. Use mainly of temporal and causal Circumstances and Conjunctions. Some use of Passive voice to get Theme right.
Exposition (Analytical)	To persuade the reader or listener that something is the case.	Thesis Position: Introduces topic and indicates writer’s position. Preview: Outlines the main arguments to be presented. Arguments Point: restates main arguments outlined in Preview. Elaboration: develops and supports each Point/argument Reiteration: restates writer’s position.	Focus on generic human and non-human Participants. Use of simple present tense. Use of Relational Processes. Use of Internal conjunction to state argument Reasoning through Causal Conjunction or nominalization.
Exposition (Hortatory)	To persuade the reader or listener that something should or should not be the case.	Thesis: announcement of issue concern. Arguments: reasons for concern, leading to recommendation. Recommendation: statement of what ought or ought not to happen.	Focus on generic human and non-human Participants, except for speaker or writer referring to self. Use of: Mental Processes: to state what writer thinks or feels about issue, e.g. realize, feel, appreciate. Material Processes: to state what happens, e.g., is polluting, drive, travel, spend, should be treated. Relational Processes: to state what is or should be, e.g., doesn’t seem to have been, is Use of simple present tense
News Item	To inform readers, listeners or viewers about events of the day which are considered newsworthy or important.	Newsworthy Event(s): recounts the event in summary form Background Events: elaborate what happened, to whom, in what circumstances. Sources: comments by participants in, witnesses to and authorities expert on the event.	Short, telegraphic information about story captured in headline. Use of Material Processes to retell the event (in the text below, many of the Material Processes are nominalized). Use of projecting Verbal Processes in Sources stage. Focus on Circumstances (e.g. mostly within Qualifiers).
Anecdote	To share with others an account of an unusual or amusing incident.	Abstract: signals the retelling of an unusual incident. Orientation: sets the scene. Crisis: provides details of the unusual incident Reaction: reaction to crises Coda: optional – reflection on or evaluation of the incident.	Use of exclamations, rhetorical questions and intensifiers (really, very, quite, etc.) to point up the significance of the events. Use of material Processes to tell what happened. Use of temporal conjunctions.
Narrative	To amuse, entertain and to deal with actual or vicarious experience in different ways; Narratives deal with problematic events which lead to a crisis or turning point of some kind, which in turn finds a resolution.	Orientation: sets the scene and introduces the participants. Evaluation: a stepping back to evaluate the plight. Complication: a crisis arises. Resolution: the crisis is resolved, for better or for worse. Re-orientation: optional.	Focus on specific and usually individualized Participants. Use of  Material Processes (and in this text, Behavioual and Verbal Processes. Use of Relational Processes and Mental Processes. Use of temporal conjunctions and temporal Circumstances. Use of past tense.
Procedure	To describe how something is accomplished through a sequence of actions or steps.	Goal Materials (not required for all Procedural texts). Steps 1-n (i.e., Goal followed by a series of steps oriented to achieving the Goal).	Focus on generalized human agents. Use of simple present tense, often Imperative. Use mainly of temporal conjunctions (or numbering to indicate sequence). Use mainly of Material Processes.
Description	To describe a particular person, place or thing.	Identification: Identifies phenomenon to be described. Description: describes parts, qualities, characteristics.	Focus on specific Participants Use of Attributive and Identifying Processes. Frequent use of Ephitets and Classifiers in nominal groups. Use of simple present tense.
Review	To criticize an art work, event for a public audience.  Such works of art include movies, TV shows, books, plays, operas, recordings, exhibitions, concerts and ballets.	Orientation: places the work in its general and particular context, often by comparing it with others of its kind or through analogue with a non-art object or event. Interpretive Recount: summaries the plot and/or provides an account of how the reviewed rendition of the work came into being; is optional, but if present, often recursive. Evaluation: provides an evaluation of the work and/or its performance or production; is usually recursive. Evaluative Summation: provides a kind of punchline which sums up the reviewer’s opinion of the art event as a whole; is optional.	Focus on Particular Participants. Direct expression of options through use of Attitudinal Ephitets in nominal groups; qualitative Attributes and Affective Mental Processes. Use of elaborating and extending clause and group complexes to package the information. Use of metaphorical language (e.g., The wit was there, dexterously ping-ponged to and fro …)[12]

I.        Narration Text

Narrative text is a kind of text to retell the story that past tense. The purpose of the text is to entertain or to amuse the readers or listeners about the story.

The generic structure of Narrative text :

1.      Orientation : It set the scene and introduce the participants (it answers the question : who, when, what, and where).

2.      Complication : Tells the problems of the story and how the main characters solve them.

3.      Resolution : The crisis is revolved, for better or worse.

4.      Re-orientation : The ending of the story.

5.      Evaluation : The stepping back to evaluate the story or the moral message of the story

Linguistic features :

1. Use active verbs.

2. Use past tense.

3. Use conjunction.

4. The first person (I or We) or the third person (He, She, or They).

5. Use specific nouns.

6. Use adjective and adverbs

Kind of Narrative text :

1. Legend : Sangkuriang, Malin Kundang, etc.

2. Fable : Mousedeer and crocodile.

3. Fairy tale : Cinderella, Snow white, Pinocchio, etc.

4. Science fiction

Example of Narrative text :

Sleeping Beauty

Long ago there lived a King and Queen who said every day, “If only we had a child!” But for a long time they had none.

One day, as the Queen was bathing in a spring and dreaming of a child, a frog crept out of the water and said to her, “Your wish shall be fulfilled. Before a year has passed you shall bring a daughter into the world.”

And since frogs are such magical creatures, it was no surprise that before a year had passed the Queen had a baby girl. The child was so beautiful and sweet that the King could not contain himself for joy. He prepared a great feast and invited all his friends, family and neighbours. He invited the fairies, too, in order that they might be kind and good to the child. There were thirteen of them in his kingdom, but as the King only had twelve golden plates for them to eat from, one of the fairies had to be left out. None of the guests was saddened by this as the thirteenth fairy was known to be cruel and spiteful.

An amazing feast was held and when it came to an end, each of the fairies presented the child with a magic gift. One fairy gave her virtue, another beauty, a third riches and so on — with everything in the world that anyone could wish for.

After eleven of the fairies had presented their gifts, the thirteenth suddenly appeared. She was angry and wanted to show her spite for not having been invited to the feast. Without hesitation she called out in a loud voice,

“When she is fifteen years old, the Princess shall prick herself with a spindle and shall fall down dead!”

Then without another word, she turned and left the hall.

The guests were horrified and the Queen fell to the floor sobbing, but the twelfth fairy, whose wish was still not spoken, quietly stepped forward. Her magic could not remove the curse, but she could soften it so she said,

“Nay, your daughter shall not die, but instead shall fall into a deep sleep that will last one hundred years.”

Over the years, the promises of the fairies came true — one by one. The Princess grew to be beautiful, modest, kind and clever. Everyone who saw her could not help but love her.

The King and Queen were determined to prevent the curse placed on the Princess by the spiteful fairy and sent out a command that all the spindles in the whole kingdom should be destroyed. No one in the kingdom was allowed to tell the Princess of the curse that had been placed upon her for they did not want her to worry or be sad.

On the morning of her fifteenth birthday, the Princess awoke early — excited to be another year older. She was up so early in the morning, that she realized everyone else still slept. The Princess roamed through the halls trying to keep herself occupied until the rest of the castle awoke. She wandered about the whole place, looking at rooms and halls as she pleased and at last she came to an old tower. She climbed the narrow, winding staircase and reached a little door. A rusty key was sticking in the lock and when she turned it, the door flew open.

In a little room sat an old woman with a spindle, busily spinning her flax. The old woman was so deaf that she had never heard the King’s command that all spindles should be destroyed.

“Good morning, Granny,” said the Princess, “what are you doing?”

“I am spinning,” said the old woman.

“What is the thing that whirls round so merrily?” asked the Princess and she took the spindle and tried to spin too.

But she had scarcely touched the spindle when it pricked her finger. At that moment she fell upon the bed which was standing near and lay still in a deep sleep.

The King, Queen and servants had all started their morning routines and right in the midst of them fell asleep too. The horses fell asleep in the stable, the dogs in the yard, the doves on the roof and the flies on the wall. Even the fire in the hearth grew still and went to sleep. The kitchen maid, who sat with a chicken before her, ready to pluck its feathers, fell asleep. The cook was in the midst of scolding the kitchen boy for a mess he’d made but they both fell fast asleep. The wind died down and on the trees in front of the castle not a leaf stirred.

Round the castle a hedge of brier roses began to grow up. Every year it grew higher until at last nothing could be seen of the sleeping castle.

There was a legend in the land about the lovely Sleeping Beauty, as the King’s daughter was called, and from time to time Princes came and tried to force their way through the hedge and into the castle. But they found it impossible for the thorns, as though they were alive, grabbed at them and would not let them through.

After many years a Prince came again to the country and heard an old man tell the tale of the castle which stood behind the brier hedge and the beautiful Princess who had slept within for a hundred years. He heard also that many Princes had tried to make it through the brier hedge but none had succeeded and many had been caught in it and died.

The the young Prince said, “I am not afraid. I must go and see this Sleeping Beauty.”

The good old man did all in his power to persuade him not to go, but the Prince would not listen.

Now the hundred years were just ended. When the Prince approached the brier hedge it was covered with beautiful large roses. The shrubs made way for him of their own accord and let him pass unharmed.

In the courtyard, the Prince saw the horses and dogs lying asleep. On the roof sat the sleeping doves with their heads tucked under their wings. When he went into the house, the flies were asleep on the walls and the servants asleep in the halls. Near the throne lay the King and Queen, sleeping peacefully beside each other. In the kitchen the cook, the kitchen boy and the kitchen maid all slept with their heads resting on the table.

The Prince went on farther. All was so still that he could hear his own breathing. At last he reached the tower and opened the door into the little room where the Princess was asleep. There she lay, looking so beautiful that he could not take his eyes off her. He bent down and gave her a kiss. As he touched her, Sleeping Beauty opened her eyes and smiled up at him.

Throughout the castle, everyone and everything woke up and looked at each other with astonished eyes. Within the month, the Prince and Sleeping Beauty were married and lived happily all their lives.[13]

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[1] http://sancesdict.blogspot.com/2010/01/definition-of-dictation.html

[2] http://www.brainyquote.com/words/di/dictation154091.html

[3] http://www.wisegeek.com/what-is-a-homophone.htm

[4] http://www.wisegeek.com/what-is-a-homophone.htm

[5] http://www.englishclub.com/pronunciation/homophones.htm

[6] http://www.enchantedlearning.com/grammar/contractions/

[7]http://grammar.ccc.commnet.edu/grammar/compounds.htm

[8] http://www.englishclub.com/grammar/verbs-what_classification-main.htm

[9] http://www.rhlschool.com/eng4n6.htm

[10] http://www.usingenglish.com/reference/idioms/

[11] http://www.scribd.comdoc30202010Passive-Voice

[12] http://www.scribd.com/doc/17595039/Text-Genre

[13] http://4antum.wordpress.com/2009/12/03/narrative-text-itu/