Selasa, 28 April 2015

concept of novel



CONCEPT OF NOVEL
A novel is a long narrative, normally in prose, which describes fictional characters and events, usually in the form of a sequential story. While Ian Watt in The Rise of the Novel (1957) suggests that the novel came into being in the early 18th century, the genre has also been described as "a continuous and comprehensive history of about two thousand years",[1] with historical roots in Classical Greece and Rome, medieval, early modern romance, and in the tradition of the novella. The latter, an Italian word used to describe short stories, supplied the present generic English term in the 18th century. Miguel de Cervantes, author of Don Quixote, is frequently cited as the first significant European novelist of the modern era; the first part of Don Quixote was published in 1605.[2]
While a more precise definition of the genre is difficult, the main elements that critics discuss are: how the narrative, and especially the plot, is constructed; the themes, settings, and characterization; how language is used; and the way that plot, character, and setting relate to reality.
The romance is a related long prose narrative. Walter Scott defined it as "a fictitious narrative in prose or verse; the interest of which turns upon marvellous and uncommon incidents", whereas in the novel "the events are accommodated to the ordinary train of human events and the modern state of society".[3] However, many romances, including the historical romances of Scott,[4] Emily Brontë's Wuthering Heights[5] and Herman Melville's Moby-Dick,[6] are also frequently called novels, and Scott describes romance as a "kindred term". Romance, as defined here, should not be confused with the genre fiction love romance or romance novel. Other European languages do not distinguish between romance and novel: "a novel is le roman, der Roman, il romanzo.
A novel is a long, fictional narrative which describes intimate human experiences. The novel in the modern era usually makes use of a literary prose style, and the development of the prose novel at this time was encouraged by innovations in printing, and the introduction of cheap paper, in the 15th century.
The present English (and Spanish) word for a long work of prose fiction derives from the Italian novella for "new", "news", or "short story of something new", itself from the Latin novella, a singular noun use of the neuter plural of novellus, diminutive of novus, meaning "new".[note 1] Most European languages have preserved the term "romance" (as in French, Dutch, Russian, Serbo-Croatian, Romanian, Danish, Swedish and Norwegian "roman"; German "Roman"; Portuguese "romance" and Italian "romanzo") for extended narratives.

Sumber : http://en.wikipedia.org/wiki/Novel


concept of song



CONCEPT OF SONG
Songwriting can be a rewarding experience, but there's more to it than just writing down song lyrics as they pop into your head. Before you set your pen to paper to write the words to your song, it's good to have a concept that points the way to your final destination — a finished song. If you can write out one sentence that explains what your song is about (this sentence is called a thesis), you're on the right track to the kind of clarity and focus needed in a good song. Refer back to your thesis sentence often to make sure the words you're coming up with still support your initial concept. If your words start taking you in a different direction, it could be a sign you need to change your thesis. You may have two separate songs to write.
Make sure each song that you write has one cohesive idea that flows through the song and that all of the lines support that idea. If there is more than one concept fighting for life, no one concept will win.
Here are just a few of the subjects that have provided concepts for songwriters since the day the very first song was written — the headings are general, but the emotions you harness and the situations you create around these subjects is what will set your song apart from the others:
  • Love: The most universal of all feelings is surely the goldhttp://cdncache-a.akamaihd.net/items/it/img/arrow-10x10.png standard when it comes to subject matter for your song. Refer to "Love Is the Answer" (written by Todd Rundgren, John Wilcox, and Roger Powell; performed by Utopia), "Love Me Two Times" (written and performed by The Doors), "Love Is a Battlefield" (written by Mike Chapman and Holly Knight; sung by Pat Benetar), and "I'm Not in Love" (written by Graham Gouldman and Eric Stewart; performed by 10 cc). Take a week off from work and make a list of the couple of thousand more you can think of on your own!
  • Friendship: As a subgenre of love, the bonds of friendship can bring out some of the strongest, sweetest emotions known to man. Refer to "You've Got a Friend" (written and sung by Carole King), "He Was a Friend of Mine" (written by Roger McGuinn; performed by The Byrds), "Friends" (written by Mark Klingman and William Charles Linhart; sung by Bette Midler), and "Can We Still Be Friends" (written and sung by Todd Rundgren).
  • Family: The family unit and its members has been the springboard for countless great songs. It's easy to see why. Your family most likely supplied you with some of your first memories. The nature of those memories will probably determine whether your song will be filled with joy, sorrow, regret, love, hurt, admiration, disdain, the desire to distance yourself from them, or your commitment to get closer. Refer to "Mother" (written and sung by John Lennon), "Ghost Story" (written and sung by Sting), and "Butterfly Kisses" (written by Bob Carlisle and Randy Thomas; sung by Bob Carlisle).
  • Conflict: Songs of war, strife, struggle, and broken hearts have helped countless generations deal with and heal the wounds of conflict. Verbalizing the feelings common to the heart of mankind is one the songwriter's most sacred privileges and responsibilities. Refer to "War" (written by Norman Whitfield and Barrett Strong; sung by Edwin Starr), "Building the Bridge" (written by Kevin Cronin; performed by REO Speedwagon), "Separate Ways" (written by Steve Perry and Jonathan Cain; performed by Journey), "Lost Horizon" (written and performed by Burt Bacharach and Hal David), and "We Just Disagree" (written by Jim Krueger; sung by Dave Mason).
  • Winning: The winning spirit has long provided inspiration to countless songwriters. Refer to "Eye of the Tiger" (written by Jim Peterik and Frankie Sullivan; performed by Survivor), "While You See a Chance" (written by Steve Winwood and Will Jennings; sung by Steve Winwood), and "We Are the Champions" (written by Freddie Mercury; performed by Queen).
  • Loss: When the pain and sometimes devastation of loss and the deep disappointment of losing can be put into a great song, you have a very effective delivery system for an all-natural cure. Your song will become as popular as the number of people who can see themselves in your song and the ones that can draw healing from the sentiments you've expressed. Refer to "The Day America Cried" (written and performed by Johnny Van Zant and Jim Peterik), "I'm Losing You" (written by Cornelius Grant, Eddie Holland, and Norman Whitfield; performed by The Temptations), and "The End of the Innocence" (written by Don Henley and Bruce Hornsby; sung by Don Henley).
  • Music and song: Because of every songwriter's inherent love for what he does, writing about the object of his affection has been very popular since time immemorial. Refer to "I Write the Songs" (written by Bruce Johnston; sung by Barry Manilow), "Let There Be Music" (written by John Hall and Larry Hoppen; performed by Orleans), "I've a Strange New Rhythm in My Heart" (written and sung by Cole Porter), and "Piano in the Dark" (written by Brenda Russell, Scott Cutler, and Jeffrey Hall; sung by Brenda Russell).
  • Geography and travel: All of the world's natural wonders are always good stepping off points for a songwriter. Trekking, hiking, biking, flying, and driving can supply you with endless reasons to write. Refer to "Route 66" (written and sung by Bobby Troup), "Rocky Mountain High" (written by John Denver and Michael Taylor; sung by John Denver), "Rocky Mountain Way" (written by Joe Walsh, Joey Vitale, Ken Passarelli, and Rocke Grace; sung by Joe Walsh), and "Wichita Lineman" (written by Jimmy Webb; sung by Glen Campbell).
  • Protest: To register their feelings of disagreement with something; some people picket; some cause destruction; and some participate in parades, bed-ins, be-ins, marches, demonstrations, and strikes. We as songwriters usually grab a pen, run to a piano, and attempt to express our frustration through song. Refer to "Where Have All the Flowers Gone" (written and sung by Pete Seeger), "Blowin' in the Wind" (written and sung by Bob Dylan), "Change the World" (written by Gordon Kennedy, Tommy Simms, and Wayne Kirkpatrick; sung by Eric Clapton), and "What's Going On" (written by Marvin Gaye, Al Cleveland, and Renaldo Benson; sung by Marvin Gaye).
  • The future, the past, and the present: Some songs look back upon a bygone day or even just yesterday. Some look hopefully, pessimistically, or presciently into the future and some are rooted in the good old here and now. Whatever your vantage point, a lot of material can be stitched together from the fabric of time. Refer to "Time in a Bottle" (written and sung by Jim Croce), "Night Moves" (written and sung by Bob Seger), "Yesterday" (written by John Lennon and Paul McCartney; performed by The Beatles), "Right Now" (written and performed by Van Halen), "When My Ship Comes In" (written by Gus Kahn and Walter Donaldson; performed by George Hall Orchestra with Allen Church vocal), and "Space Oddity" (written and sung by David Bowie).
  • States of mind: This ever-popular subject, which ranges from sanity to insanity, elation to depression, and all stops in between has always provided some good therapy for writer and audience alike. Refer to "Sorry Seems to Be the Hardest Word" (written by Elton John and Bernie Taupin; sung by Elton John), "Soak Up the Sun" (written by Sheryl Crow and Jeff Trott; sung by Sheryl Crow), "Crazy" (written by Willie Nelson; sung by Patsy Cline), and "Walking On Sunshine" (written by Kimberley Rew; performed by Katrina and the Waves).
We have, of course, only touched the surface of the subjects that may inspire you to create a song. Anything in life is fair game to write about. It's up to you to find unique and compelling ways of presenting these ideas and concepts through your words and music. Finding the subjects you're most passionate about, the ones that "strike a chord" in you will make it easier to write a song you're satisfied with and that'll connect with others.
Sumber : http://www.dummies.com/how-to/content/coming-up-with-concepts-for-songs.html

code mixing and code switching



Definition of Code

----In communications, a code is a rule for converting a piece of information (for example, a letter, word, or phrase) into another form or representation, not necessarily of the same sort. In communications and information processing, encoding is the process by which a source (object) performs this conversion of information into data, which is then sent to a receiver (observer), such as a data processing system (en.wikipedia.org/wiki/Code)
In semiotics, the concept of a code is of fundamental importance. Saussure emphasized that signs only acquire meaning and value when they are interpreted in relation to each other. He believed that the relationship between the signifier and the signified was arbitrary. Hence, interpreting signs requires familiarity with the sets of conventions or codes currently in use to communicate meaning…...
(en.wikipedia.org/wiki/Code (Semiotics))
In the context of cryptography, a code is a method used to transform a message into an obscured form, preventing those not in on the secret from understanding what is actually transmitted. The usual method is to use a codebook with a list of common phrases or words matched with a codeword. Messages in code are sometimes termed codetext. (en.wikipedia.org/wiki/Code (cryptography))
In computer programming, the word code refers to instructions to a computer in a programming language. In this usage, the noun "code" typically stands for source code, and the verb "to code" means to write source code, to program. This usage may have originated when the first symbolic languages were developed and were punched onto cards as "codes”.
(en.wikipedia.org/wiki/Code (computer- programming))
The term code is a relatively neutral conceptualization of a linguistic variety—be it a language or a dialect. Romaine (1995) mentions that: “I will use the term ‘code’ here in a general sense to refer not only to different language, but also to varieties of the same language as well as styles within a language.” However, not many researchers really explicate the term in their definition. In this study, code will be taking as a verbal component that can be as small as a morpheme or as comprehensive and complex as the entire system of language.

 Different between Code-switching and Code-mixing

Several scholars have attempted to define code-switching and code-mixing. Among them are Amuda (1989), Atoye (1994) and Belly (1976). For instance, Hymes defines only code-switching as “a common term for alternative use of two or more language, varieties of a language or even speech styles. “while Bokamba (1989) defines both concepts thus: “Code-switching is the mixing of words, phrases and sentences from two distinct grammatical (sub)systems across sentence boundaries within the same speech event… code-mixing is the embedding of various linguistic units such as affixes (bound morphemes), words (unbound morphemes), phrases and clauses from a cooperative activity where the participants, in order to in infer what is intended, must reconcile what they hear with what they understand. “
Code switching is not a display of deficient language knowledge: a grammarless mixing of two languages. Instead it is a phenomenon through which its users express a range of meanings. By code switching, which occurs mostly in conversation, the choice of speech alerts the participants to the interaction of the context and social dimension within which the conversation is taking place. The phenomenon of code switching is examined from a conversational analysis perspective, and as such is viewed as interactive exchanges between members of a bilingual speech community.
Very often the expression code mixing is used synonymously with code switching and means basically intra-sentential code switching. However, recent research has given new meaning to this term. Maschler (1998) defines code mixing or a mixed code as “using two languages such that a third, new code emerges, in which elements from the two languages are incorporated into a structurally definable pattern” (p.125) In other words, the code mixing hypothesis states that when two code switched languages constitute the appearance of a third code it has structural characteristics special to that new code.

Types of Code- switching and Code- mixing

There are many kinds of code-switching. Code-switching can be either intersentential, intrasentential or Tag- switching.
In intersentential code-switching, the language switch is done at sentence boundaries. This is seen most often between fluent bilingual speakers. Sometimes I will start a sentence in English y terminό in español. (Poplack 1980)
In intrasentential code-switching, the shift is done in the middle of a sentence, with no interruptions, hesitations, or pauses indicating a shift. It often happens within one sentence or even a one phrase. The speaker is usually unaware of the switch, until after the fact, and for example, you have to find a kalo pedi (good guy) and marry him. (English-Greek)
The first type of language switching is known as mechanical switching. It occurs unconsciously, and fills in unknown or unavailable terms in one language. This type of code-switching is also known as code-mixing. Code-mixing occurs when a speaker is momentarily unable to remember a term, but is able to recall it in a different language.
Another type of code switching, known as code-changing, is characterized by fluent intrasentential shifts, transferring focus from one language to another. It is motivated by situational and stylistic factors, and the conscious nature of the switch between two languages is emphasized (Lipski, 1985, p. 12).
The third type of code- switching is Tag- switching. This involves the insertion of a tag in one language into an utterance that is otherwise entirely in the other language. We can see example, so he asked me for money, znas #, I had to say no, znas #. The tag here is Serbian for ‘you know’.
Code-mixing is one of the major kinds of language choice which is subtler than ‘code- switching’, as stated by Fasold (1984). In code- mixed sentences, pieces of the one language are used while a speaker is basically using another language.

Sumber : http://www.grin.com/en/e-book/92496/code-switching-and-code-mixing

creole and pidgin



THE HISTORY OF PIDGINS AND CREOLE

Pidgins and creole are new language varieties, which developed out of contacts between colonial nonstandard varieties of a European language and several non-European languages around the Atlantic and in the Indian and Pacific Oceans during the seventeenth to nineteenth centuries. Pidgins typically emerged in trade colonies which developed around trade forts or along trade routes, such as on the coast of West Africa. They are reduced in structures and specialized in functions (typically trade), and initially they served as non-native lingua francas to users who preserved their native vernaculars for their day-to-day interactions. Some pidgins have expanded into regular vernaculars, especially in urban settings, and are called `expanded pidgins.' Examples include Bislama and Tok Pisin (in Melanesia) and Nigerian and Cameroon Pidgin English. Structurally, they are as complex as Creoles.
The terms Creole and pidgin have also been extended to some other varieties that developed during the same period out of contacts among primarily non- European languages. Examples include Delaware Pidgin, Chinook Jargon, and Mobilian in North America; Sango, (Kikongo-)Kituba, and Lingala in Central Africa, Kinubi in Southern Sudan and in Uganda; and Hiri Motu in Papua New Guinea (Holm 1989, Smith 1995)
Mufwene (2001) emphasizes that Creoles and pidgins developed in separate places, in which Europeans and non-Europeans interacted differently –sporadically in trade colonies (which produced pidgins) but regularly in the initial stages of settlement colonies (where Creoles developed).
The term `Creole' was originally coined in Iberian colonies, apparently in the sixteenth century, in reference to non indigenous people born in the American colonies. It was adopted in metropolitan Spanish, then in French and later in English by the early seventeenth century. By the second half of the same century, it was generalized to descendants of Africans or Europeans born in Romance colonies. Usage varied from one colony to another. The term was also used as an adjective to characterize plants, animals, and customs typical of the same colonies.
Creole may not have applied widely to language varieties until the late eighteenth century. Such usage may have been initiated by metropolitan Europeans to disfranchise particular colonial varieties of their languages. It is not clear how the term became associated only with vernaculars spoken primarily by descendants of non-Europeans. Nonetheless, several speakers of Creoles (or pidgins) actually believe they speak dialects of their lexifiers.
Among the earliest claims that Creoles developed from pidgins is the following statement in Bloomfield (1933, p. 474): `when the jargon [i.e., pidgin] has become the only language of the subject group, it is a creolized language.' Hall (1962) reinterpreted this, associating the vernacular function of Creoles with nativization. Thus, Creoles have been defined inaccurately as `nativized pidgins,' i.e., pidgins that have acquired native speakers and have therefore expanded both their structures and functions and have stabilized. Hall then also introduced the pidgin-Creole `life-cycle' to which DeCamp (1971) added a `post-Creole' stage.
The first creolist to dispute this connection was Alleyne (1971). He argued that fossilized inflectional morphology in Haitian Creole (HC) and the like is evidence that Europeans did not communicate with the Africans in foreigner or baby talk, which would have fostered pidgins on the plantations.
It has also been claimed that Creoles have more or less the same structural design (Bickerton, 1984). This position is as disputable as the counterclaim that they are more similar in the socio historical ecologies of their developments, or even the more recent claim that there are Creole prototypes from which others deviate in various ways (McWhorter 1998). The very fact of resorting to a handful of prototypes for the general Creole structural category suggests that the vast majority of them do not share the putative set of defining features, hence that the features cannot be used to single them out as a unique type of language. On the other hand, variation in the structural features of Creoles (lexified by the same language) is correlated with variation in the linguistic and sociohistorical ecologies of their developments (Mufwene 2001). The notion of `ecology' includes, among other things, the nature of the lexifier, structural features of the substrate languages, changes in the ethnolinguistic makeup of the populations that came in contact, the kinds of interactions between speakers of the lexifier and those of other languages, and rates and modes of population growth.
To date the best known Creoles have been lexified by English and French. Those of the Atlantic and Indian Ocean are, along with Hawaiian Creole, those that have informed most theorizing on the development of Creoles. While the terms `Creole' and `creolization' have often been applied uncritically to various contact-induced language varieties, several distinctions, which are not clearly articulated have also been proposed, for instance, between pidgin, Creole, koine! , semi-Creole, intertwined varieties, foreign workers' varieties of European languages (e.g., Gastarbeiter Deutsch), and `indigenized varieties' of European languages (e.g., Nigerian and Singaporean English). The denotations and importance of these terms deserve re-examining.  THE DEFENITION OF PIDGINS AND CREOLE
Most studies of pidgins and Creoles (PC) have focused on their origins, despite an undeniable increase during the 1990s in the number of works on structural features
 Pidgins
 A Pidgin, or contact language, is the name given to any language created, usually spontaneously, out of a mixture of other languages as a means of communication between speakers of different tongues. Pidgins have rudimentary grammars and restricted vocabulary, serving as auxiliary contact languages. They are improvised rather than learned natively.
Pidgin language (origin in Engl. word `business'?) is nobody's native language; may arise when two speakers of different languages with no common language try to have a makeshift conversation. Lexicon usually comes from one language, structure often from the other. Because of colonialism, slavery etc. the prestige of Pidgin languages is very low. Many pidgins are `contact vernaculars', may only exist for one speech event.
A pidgin is “ a language with a reduced range of structure and use, with NO native speakers.” It grows up among people who do not share a common language but who want to communicate with each other.
(Source: The Cambridge Encyclopedia of Language).
A pidgin, or contact language, is the name given to any language created, usually spontaneously, out of a mixture of other languages as a means of communication between speakers of different tongues. Pidgins have simple grammars and few synonyms, serving as auxiliary contact languages. They are learned as second languages rather than natively.
Some pidgins have expanded into regular vernaculars, especially in urban settings, and are called `expanded pidgins.' Examples include Bislama and Tok Pisin (in Melanesia) and Nigerian and Cameroon Pidgin English. 
 Creole
Creole (orig. person of European descent born and raised in a tropical colony) is a language that was originally a pidgin but has become nativized, i.e. a community of speakers claims it as their first language. Next used to designate the language(s) of people of Caribbean and African descent in colonial and ex-colonial countries (Jamaica, Haiti, Mauritius, Réunion, Hawaii, Pitcairn, etc.)
A creole is “a pidgin which has become the mother tongue of a community,” and therefore has native speakers (Source: The Cambridge Encyclopedia of Language).
            A creole language, or just creole, is a well-defined and stable language that originated from a non-trivial combination of two or more languages, typically with many distinctive features that are not inherited from either parent. All creole languages evolved from pidgins, usually those that have become the native language of a community. The most kinds of pidgin but now be a creol as like Melanesia pidgin (Tok Pisin in Papua New Guinea. Another example from this is Bislama pidgins in Vanuatu.

THE DEVELOPMENT OF PIDGIN AND CREOLE
 The Development Of Pidgin
A Pidgin, or contact language, is the name given to any language created, usually spontaneously, out of a mixture of other languages as a means of communication between speakers of different tongues. Pidgins have rudimentary grammars and restricted vocabulary, serving as auxiliary contact languages. They are improvised rather than learned natively.
As they develop, they can replace the existing mix of languages to become the native language of the current community (such as Krio in Sierra Leone and Tok Pisin in Papua New Guinea). This stage requires the pidgin to be learned natively by children, who then generalize the features of the pidgin into a fully-formed, stabilized grammar (see Nicaraguan Sign Language). When a pidgin reaches this point it acquires the full complexity of a natural language, and becomes a creole language. However, pidgins do not always become creoles - they can die out or become obsolete.
The concept originated in Europe among the merchants and traders in the Mediterranean in the Middle Ages, who used Lingua Franca or Sabir. Another well-known pidgin is the Beach-la-Mar of the South Seas, based on English but incorporating Malay, Chinese, and Portuguese words. Bislama, as it is now called in Vanuatu, is fairly mutually intelligible with Tok Pisin.
Caribbean pidgin is the result of colonialism. As tropical islands were colonised their society was restructured, with a ruling minority of some European nation and a large mass of non-European laborers. The laborers, both natives and slaves, would often come from many different language groups and would need to communicate. This led to the development of pidgins.
The word is derived from the Chinese pronunciation of the English word business. Pidgin English was the name given to a Chinese-English-Portuguese pidgin used for commerce in Canton during the 18th and 19th centuries. Some scholars dispute this derivation of the word "pidgin", and suggest alternative etymologies, but no alternative has been deemed convincing enough to garner widespread support. In Canton, this contact language was called Canton English.
   The Development Of Creole
In linguistic, creole is pidgin which from time to time and from one generation to the next generation that continues to develop into a variety of languages​​. By the time adults use pidgin as an intermediate language, a group of children or grandchildren they acquire and use the language as a first language (mother language).
For children or grandchildren, no longer called Pidgin, but creole.
Creole is also often referred to as the language Pijin that has native speakers. In the language of the user community Pidgin shift or different naming of the language used. Pijin for the older generation, and Creole to the younger generation.
At the level of creole, grammar and vocabulary begin to intricate and complex. Creole is a language extension Pidgin, both grammatical complexity and vocabulary. Expansion of Pidgin be equated with creole languages ​​in other countries that have it.
There are hundreds of different creole languages ​​in the world. Example is the creole language Tok Pisin in Papua New Guinea, Papiamentu in Arubia, South Venezuela, Curacao and Bonaire Leeward islands of the Netherlands Antilles (influenced by Portuguese, English and Spanish). Haitian Creole in the Caribbean, the western part of the island of Hispaniola (having six million speakers). The speakers can be found throughout the Caribbean and North American comunity, and creole from Dominica (influenced by Spanish, French and English).
 THE PROCESS OF DEVELOPMENT FROM PIDGIN TO CREOL
In general, overall language can be changed. Sometimes the language changes occur in a short time as a result of contact between two languages ​​used by people with backgrounds different languages. In such circumstances may arise that name pidgin. Pidgin usually have a very simple grammar with a vocabulary of different languages ​​so that mixing the two elements of the language led to a mixture of languages.
A pidgin has no native speakers (native speakers). If you have a native speaker's language is called a creole language. So, creole is a pidgin development that has had a parent language (mother tongue). Some languages ​​are considered creole language in Indonesia, among others, is the Malay language and Betawi Malay Ambon. So, creole is the result of language contact as well which is the development of a pidgin.
Pidgin creole arises when a mother tongue in a particular community. The structure is still describe the structure of pidgin, creole but called for being their mother tongue. Pidgin can be a creole when the foreign speakers and used by his descendants were then frozen as their first language. It just said creole pidgin language if this has been going on for generations.
Creoles have more speakers than pidgin. Because creoles evolved through his children and grandchildren, and only a pidgin language of the original. When someone mentions a creole language, then the language should have first been proven historically about its origins. Because in determining whether or not a creole, a language historically has a very important role and have a very close relationship.
Creolization is a linguistic development that occurs because the two languages ​​in contact for a long time which is pidgin speakers had breed. And so on if creole able to survive and continue berkembanga it would creole language bias to larger and more complete example is the language of Sierra Leone in West Africa which later became the national language.
Creole language developed from pidgin language. First of all, a language is used as a first language in an area, then the youth, especially the merchants, activities interaction by trade.
From various origins traders, when they interact with other countries that are much different languages ​​have either structural or functional, so they created a new language with quotes, and to paraphrase of their own languages ​​understood by all traders concerned that they are able to interact well. First language in an area that depends on whether the area is the result of colony, who occupier, and the influence of what is left.