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Abstrak :
ABSTRAK
Kemunculan internet serta berbagai macam media sosial, semakin memudahkan manusia untuk berkomunikasi. Bukan hanya menjadi sarana berkomunikasi, namun beragam media sosial ini dalam perkembangannya juga menjadi wadah untuk mengekspresikan pengalaman bagi para penggunanya. Tulisan ini berfokus pada pengalaman yang diekspresikan melalui praktik-praktik media di Draft SMS, serta kaitannya dengan anonimitas yang ditawarkan akun resmi tersebut. Ekspresi pengalaman ini selanjutnya dapat dilihat dalam wujud pesan anonim yang dititipkan, serta komentar dari para pembaca.

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ABSTRACT
The emergence of the internet and various kinds of social media, facilitate people to communicate easier across time and space. Not only as means of communications, but various social media in its development are also become a place for its users to express their experience. This paper focuses on experiences that expressed through media practices in Draft SMS, as well as their relation to the anonymity offered by this official account. The expressions of these diverse experience can be seen in the form of anonymous messages entrusted, as well as the readers.

Abstrak :
Seni tato Dayak Kenyah di Desa Pampang merupakan warisan budaya yang diturunkan dari generasi ke genarasi sebagai bentuk penghargaan kepada nenek moyang agar tidak punah, selain itu juga sebagai bentuk status sosial dan sebagai penerang setelah mati. Seni tato Dayak Kenyah berbeda dengan tato Dayak lainnya karena pada umumnya tato digunakan oleh laki-laki, berbeda dengan suku Dayak Kenyah yang menggunakan tato adalah perempuan. Seni tato tradisional merupakan bagian dari ekspresi budaya tradisional diatur dalam Undang-Undang Hak Cipta Nomor 28 Tahun 2014 lebih lanjut dijelaskan dalam Peraturan Menteri Hukum dan HAM Nomor 13 Tahun 2017 tentang Data KIK dan seni tato tradisional sebagai objek pemajuan kebudayaan diatur dalam Undang-Undang Nomor 5 Tahun 2017 tentang Pemajuan Kebudayaan. Rumusan permaslaahan pertama yaitu apa yang dimaksud dengan inventarisasi Objek Pemajuan Kebudayaan, berikutnya adalah apa yang dimaksud dengan inventarisasi Ekspresi Budaya Tradisional dan bagaimana upaya dari Pemerintah Daerah Provinsi Kalimantan Timur dalam melindungi seni Tato Dayak Kenyah berdasarkan Undang-Undang Hak Cipta dan Undang-Undang Pemajuan Kebudayaan. Namun sangat disayangkan seni tato Dayak Kenyah belum terinventarisir dari aspek hukum hak cipta dan aspek hukum pemajuan kebudayaan oleh Pemerintah Daerah Provinsi Kalimantan Timur. Sebagai bentuk perlindungan positif Pemerintah Daerah Provinsi Kalimantan belum mengeluarkan Peraturan Daerah terkait perlindungan budaya. Pemerintah Daerah Provinsi Kalimantan Timur segera melakukan inventarisasi seni tato Dayak Kenyah, selain itu juga perlunya sosialisasi pada masyarakat adat dan sinergi antar instansi terkait dalam bidang kebudayaan. ......The art of Dayak Kenyah tattoos in Pampang Village is a cultural heritage that is passed down from generation to generation as a form of appreciation to ancestors so that they do not become extinct, as well as a form of social status and as a light after death. Dayak Kenyah tattoo art is different from other Dayak tattoos because tattoos are generally used by men, in contrast to the Dayak Kenyah tribe who use tattoos are women. Traditional tattoo art is part of traditional cultural expressions regulated in Copyright Law Number 28 of 2014 which is further explained in Minister of Law and Human Rights Regulation Number 13 of 2017 concerning KIK Data and traditional tattoo art as objects of cultural advancement is regulated in Law Number 5 of 2017 concerning the Advancement of Culture. The formulation of the first problem is what is meant by an inventory of Objects of Cultural Advancement, the next is what is meant by an inventory of Traditional Cultural Expressions and what are the efforts of the Regional Government of East Kalimantan Province in protecting the art of Dayak Kenyah Tattoos based on the Copyright Act and the Law on Cultural Promotion. However, it is very unfortunate that the Dayak Kenyah tattoo art has not been inventoried from the aspect of copyright law and the legal aspect of cultural promotion by the Regional Government of East Kalimantan Province. As a form of positive protection, the Kalimantan Provincial Government has not issued a Regional Regulation related to cultural protection. The Regional Government of East Kalimantan Province will immediately conduct an inventory of the Dayak Kenyah tattoo art, in addition to the need for socialization to indigenous peoples and synergy between related agencies in the field of culture

Abstrak :
Penelitian ini secara umum bertujuan memperoleh gambaran pemakaian ungkapan fatis dalam acara temu wicara televisi. Telaah tentang ungkapan fatis dalam acara temu wicara televise termasuk ke dalam bidang kajian analisis wacana dan pragmatik. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dan kuantitatif. Metode kuantitatif hanya digunakan sebagai pendukung dalam mengenalisis data, misalnya untuk menentukan persentase sampel penelitian dan menghitung frekuensi penggunaan ungkapan fatis. Acara temu wicara yang dijadikan sumber data adalah News Dot Com yang ditayangkan oleh Metro TV tanggal 18 Maret dan 25 Maret 2007, Empat Mata yang ditayangkan oleh Trans7 tanggal 15 Maret dan 20 Maret 2007, Ceriwis yang ditayangkan Trans TV tanggal 27 Februari dan 10 Maret 2007, dan Kick Andy yang ditayangkan oleh Metro TV tanggal 22 Maret dan 29 Maret 2007. Total waktu acara adalah 361,6 menit atau 6,03 jam. Dari delapan episode acara temu wicara televisi yang dijadikan sumber data ditemukan 1012 ungkapan fatis. Data yang diambil sebagai sampel berjumlah 282 ungkapan fatis atau 27,8% dari 1012 populasi. Terdapat ungkapan fatis yang sudah tercatat oleh peneliti terdahulu dan ungkapan fatis yang belum tercatat oleh peneliti terdahulu. Jenis kata dan partikel fatis yang sudah tercatat peneliti terdahulu dan ditemukan dalam korpus data penelitian adalah ya, sih, dong, kok, nah, kan, deh, lho, -lah, ah, halo, toh, dan yah. Jenis kata fatis yang belum tercatat peneliti terdahulu dan ditemukan dalam korpus data penelitian adalah oke, aja, em, baik, gitu, bentar, eh, amin, nih, hai, mah, lha, tahu, wong, alah, dan bo. Kata fatis yang cenderung digunakan dalam acara temu wicara televisi adalah kata fatis ya dengan frekuensi pemakaian 72 kali. Frase fatis yang sudah tercatat oleh peneliti terdahulu dan ditemukan dalam korpus data penelitian adalah terima kasih, selamat datang, dan selamat malam. Frase fatis yang belum tercatat oleh peneliti terdahulu dan ditemukan dalam korpus data penelitian adalah apa kabar, betul sekali, bukan begitu, dan ya sudah. Frase fatis yang cenderung dipakai dalam acara temu wicara televisi adalah terima kasih/thanks dengan frekuensi pemakaian tiga belas kali. Kalimat fatis yang ditemukan dalam korpus data adalah kalimat fatis yang berfungsi menjaga keharmonisan/mempertahankan komunikasi dengan frekuensi dua kali, tanda meminta persetujuan kepada kawan bicara frekuensi penggunaannya dua kali, dan untuk mengakhiri pembicaraan frekuensi penggunaannya dua kali. Terdapat kalimat fatis yang digunakan secara terbatas pada acara tertentu. Tiga jenis fungsi fatis yang digunakan secara terbatas dalam acara Empat Mata mencakupi fungsi (1) mengalihkan perhatian pembicaraan, (2) membuka atau memulai kontak dengan kawan bicara, dan (3) mempertahankan kontak pembicaraan dengan kawan bicara. Tiga jenis fungsi fatis yang digunakan secara terbatas dalam acara News Dot Com mencakupi fungsi (1) memutus sementara kontak sekaligus mempertahankan kontak pembicaraan, (2) mengakhiri pembicaraan, dan (3) membuka kontak atau memulai pembicaraan. Dua jenis fungsi fatis yang digunakan secara terbatas dalam acara Ceriwis adalah (1) memutus sementara kontak sekaligus mempertahankan kontak pembicaraan, (2) membuka kontak atau memulai pembicaraan. Jenis fungsi fatis yang digunakan secara terbatas dalam acara Kick Andy adalah fungsi mengakhiri sementara kontak sekaligus mempertahankan kontak pembicaraan. ......This research is generally aimed at collecting description of phatic expressions employed during television talk shows. This study is concerned with the realm of pragmatic and discourse analysis. Qualitative and quantitative methods constitute mainly in this study, with the latter providing ground on which data analysis is used to measure percentage of research sample and calculate frequency of phatic expression uses. The talk shows from which the data were gathered are News Dot Com by Metro TV on March 18th and 25th 2007, Empat Mata by Trans7 on March 15th and 20th 2007, Ceriwis by Trans TV on February 27th and March 10th 2007, and Kick Andy by Metro TV on March 22th and 29th 2007. The total time consumed by the combined talk shows on TV is on average 361,6 minutes or 6,03 hours. Of the eight episodes of the talk shows contrributing to the data source, 1012 phatic expressions were found, of which 282 of them were used as samples, or approximately 27,8% were used as samples. Among the phatic expression samples that have been gathered, some of them have been previously recorded by the writer, forming the corpus data for his own research, while some have not. The phatic expression samples are in the form of word, phrase, and sentence. The recorded phatic words found while conducting this research are ya, sih, dong, kok, nah, kan, deh, lho, -lah, ah, halo, toh, and yah. The unrecorded phatic word samples that turned up during this study include oke, aja, em, baik, gitu, bentar, eh, amin, nih, hai, mah, lha, tahu, wong, alah, and bo. The most frequent phatic word that appeared on the TV talk shows, reaching up to the frequency of 72 times appearance is ya. Than, the phatic phrase samples. The recorded phatic phrases that tuned up during the research are terima kasih, selamat datang, and selamat malam, while the unrecorded ones include apa kabar, betul sekali, bukan begitu, and ya sudah. The most frequent phatic phrase with thirteen times occurrence is terima kasih/thanks. Last of all, the phatic sentences. They served different purposes, which were found during the research. One that served to maintain communication flow appeared twice, another that requested consent from interlocuters appeared twice, and the other that functioned to end a conversation appeared twice. Further functions of phatic sentences have been found in relation to TV talk shows they are angaged in. In Empat Mata the functions of phatic sentences include (1) diverting a mainstream talk, (2) starting a discussion, and (3) maintaining interest in a chat with interlocuters. In News Dot Com phatic sentences function to (1) temporarily cut off a conversation flow while at the same time maintaining it from the loss, (2) end a talk, and (3) to start or open a new talk. In Ceriwis phatic sentences serve to (1) temporarily cut off a conversation flow while at the same time saving it from the loss, and (2) to start a new discussion. In Kick Andy phatic sentences have a sole function which is to cut off a conversation flow temporarily while at the same time keeping it from the loss.

Abstrak :
Artikel ini menjelaskan kohesivitas sosial masyarakat Sasak tradisional yang tercermin dalam kategori dan ekspresi linguistiknya, khususnya pada domain modal sosial. Selanjutnya, bagaimana nilai-nilai kohesivitas sosial itu bertransformasi dalam modal sosial masyarakat Sasak sekarang. Kategori dan ekspresi linguistik dimaknai sebagai bentuk kategorisasi lingual dan ungkapan verbal dalam domain modal sosial, yang mana di dalamnya tersimpan berbagai sistem pengetahuan masyarakat Sasak mengenai kohesivitas sosial. Sementara itu, transformsi dalam kajian ini dimaknai sebagai bentuk pergeseran atau perubahan pada struktur permukaan (transformasi lingual) dan juga pada struktur dalam (perubahan prilaku) masyarakat Sasak. Untuk tujuan tersebut, digunakanlah pendekatan etnosemantik, yakni memeriksa kosakata-kosakata tertentu dalam bahasa yang mereka gunakan pada ranah sosial dan memiliki kaitan dengan konsep modal sosial. Berdasarkan hasil analisis, ditemukan paling tidak ada tiga macam modal sosial masyarakat Sasak yang menjadi landasan nilai-nilai kohesivitas sosialnya: (1) modal sosial yang merujuk kepada bentuk interaksiinteraksi, (2) modal sosial yang merujuk kepada bentuk institusi, dan (3) modal sosial yang menunjuk kepada normanorma. Adapun kecenderungan transformasi sosial yang terjadi lebih dikarenakan oleh adanya (i) tuntutan kualifikasi baru, (ii) bergesernya peran profesi, (iii) munculnya stratifikasi kompleks dalam masyarakat Sasak dewasa ini, dan (iv) adanya berbagai kelembagaan baru yang diterapkan oleh negara dan lebih didukung oleh sistem kekuasaan formal.

This article presents the social cohesiveness of traditional Sasak reflected and expressed in their linguistics, particularly at social capital domain, and to transform it to the current social capital of Sasak people. The category and linguistic expressions are considered to be the lingual category forms and the verbal expressions in the social capital domain, in which it is kept various knowledge systems of the social cohesiveness of Sasak people. Transformation in this study is defined as a shift at the surface structure (the lingual transformation) and deep structure (the behaviour transformation) of Sasak people, it is used the ethnosemantic approach, by investigating certain vocabularies in the language they use in the social domain having relationship with the social capital. This study reveals three social capitals of Sasak people becoming the base of values: (1) the social capital referring to the interactional forms, (2) to the institutional forms, and (3) to the norms. Furthermore, the social transformation tendency is caused by (i) the new qualification needs, (ii) the shift of professional role, and (iii) the existence of the complexity stratification, and (iv) the existence of new various institutions formed by the governments and the formal system power.

Abstrak :
Translation is the activity of transferring the meaning of the source language into the target language. Transferring is done by going from the form of the source language into the form of the target language by way of semantic structure. It is the meaning which is being transferred and must held constant, but it is the form which is changed. One of the translation activities is to translate the modal expressions of English into Indonesian. The meaning which is carried in the modal expressions of English is transferred into Indonesian. The meaning should be constant. The form may change. Analyzing translation concentrates on the textual equivalent and formal correspondence. If the translation is not equivalent and does not correspond formally and is equivalent but does not correspond formally, there will be shifts. Shifts are the result of translation procedures: transposition and modulation. Transposition will make grammatical shifts such as unit, word-class, structure and intra-system, and modulation will make semantic shills such as point of view and scope of meaning. Modality is the speaker's attitude toward the proposition of his utterance and the event of proposition which is ex-pressed in lexical forms such as words, phrases, or clauses. One of the modalities is epistemic which consists of epistemic possibility and epistemic necessity. Epistemic possibility is expressed in lexical forms such as may, can, perhaps, maybe, it is possible that (English), and mungkin, barangkali, bisa-jadi(Indonesian). Epistemic necessity is expressed in lexical forms such must, should, it is necessary that (English), and harus, mesti, tentu saja, saya yakin (Indonesian). Deontic is another modality. It contains of obligation and permission. Obligation is expressed in lexical forms such as must, should (English), and wajib, mesti, jangan (Indonesian). Permission is expressed in lexical forms such as might, can, could (English), and boleh, dapat, bisa (Indonesian). The other modality is dynamic, that is ability. It is expressed in lexical forms such as can, could, be able to, be capable of (Englsih), and bisa, dapat, ma?npu, sanggup (indonesian). In translation of English modal expressions which are in The Old Man and the Sea into Lelaki Tua darn Laut, there are some problems. The ones that are found are the differences of unit and word-class of modal expressions, and subcategory of modality. The differences of unit and word-classes will make grammatical shifts unit and word-class shifts, and those of subcategory will make semantic shifts: shifts of point of view and shifts of scope of meaning. The differences of unit between source text and target text cause unit shifts. For example, can as word is translated into boleh jadi as phrase. In other case, the unit differences will also cause semantic shifts : shift of scope of meaning and shift of point of view. Can mean 'bisa' whose scope of meaning is broader than masih bisa because bisa is emphasized by masih. Must which means 'kepastian' is translated into akan masih which means 'Keteramalan'. Kepastian and keteramalan have different point of view. The shifts which occur in translation The Old Man and the Sea into Lelaki Tua dan Laut can be caused by the different systems of English and Indonesian or by the translator. From the number of shifts which are found, especially those which are caused by translator can be concluded that the translation of modal expressions in The Old Man and the Sea into Lelaki Tua dan Laut is not good enough.

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Recognition of handwritten mathematical expressions has been an important topic for many researchers for decades. It remains one of the most challenging and exciting areas in pattern recognition. In the recognition process of offline handwritten mathematical expressions, segmentation is the most important process. Problems in ambiguities of identifying superscript and subscript in complex offline mathematical expressions remain one of the most important problem. To the best of our knowledge little work has been done in the segmentation of offline handwritten mathematical expressions with respect to superscript and subscript. In this paper an efficient segmentation technique for superscript, subscript and main characters within offline handwritten mathematical expressions has been proposed. This technique is based on the generation of predictions for superscript, subscript and main characters within handwritten mathematical expressions, which helps for the reconstruction of mathematical expressions during the recognition process with their spatial interrelationship. The proposed system was conducted as an experiment with a database of 300 samples of scanned mathematical expressions that comprised 2,000 symbols out of which there were 31 different types of Mathematical Symbols. The classification of the elements was carried out by the K-NN-classifier based on density features. This experiment shows remarkable results.

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One of the difficulties in translating English legal texts derives from the uses of specialized language, also known as “legalese“. This research is a preliminary study which sets out to investigate the translation of English legalese into Indonesian in four open-accessed agreements. The data in English, which cover terms and expressions commonly used in legal documents, are classified into seven categories of legal English features. Their Indonesian translations are analysed by using Indonesian dictionaries to discover whether they can be considered as Indonesian legal language. The research finds that most English legalese terms and expressions studied are translated using common words and expressions, which can be looked up in the official monolingual Indonesian dictionary (Kamus Besar Bahasa Indonesia/KBBI) but cannot be found in an Indonesian law dictionary. Therefore, it is concluded that Indonesian legal language is not yet established.

Abstrak :
One interesting issue nowadays is the legal protection of Intellectual Property Rights (IPR) produced by traditional society. Intellectual property produces by the traditional society called expression of folklore. There is no special regulation in the scope of international and national caused legal protection of iuntellectual property produced by traditional societies is still weak. Consequently, exploitation occured by foreigners. For example, the case of Jepara?s carving art that was exploited by foreign caused craftsmen in Jepara losses.

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Salah satu isu yang menarik saat ini adalah perlindungan hukum terhadap Hak Kekayaan Intelektual (HKI) yang dihasilkan oleh masyarakat tradisional. Kekayaan intelektual yang dihasilkan oleh masyarakat tradisional disebut expression of folklore. Belum adanya pengaturan khusus dalam lingkup internasional dan nasional menyebabkan perlindungan hukum terhadap kekayaan intelektual yang dihasilkan oleh masyarakat tradisional masih lemah. Akibatnya, terjadi eksploitasi oleh pihak asing. Contohnya, kasus seni ukir Jepara yang dieksploitasi oleh pihak asing menyebabkan pengrajin di Jepara mengalami kerugian.

Abstrak :
[Negara Indonesia yang terdiri dari beragam suku dan budaya, haruslah dijaga dan dilindungi keberadaanya. Saat ini perlindungan akan warisan budaya menjadi isu yang mendesak bagi penduduk Indonesia karena sering dengan perkembagan zaman dan teknologi, ancaman akan eksploitasi terhadap produk ekspresi budaya tradisional sangat mungkin terjadi. Tapi di sisi lain penggunaan atau exploitasi ekspresi budaya tradisional juga penting dilakukan agar nialinya tetap terkandung dimasyarakat. Hal tersebut lah yang mendorong penulis untuk membahas penggunaan ekspresi budaya tradisional secara bebas. Teater I La Galigo adalah contoh nyata dimana exploitasi terhadap ekspresi kebudayaan tradisional berjalan lurus dengan pelestariannya. Dan seabgai sebuah teater yang mengadopsi alur cerita dari warisan budaya, maka penting untuk menuntukan originalitasnya agar karya tersebut dapat diberikan perlindungan dalam ruang lingkup hak cipta. Di sisi lain penting juga menentukan bahwa I La Galigo sebagai modifikasi expresi budaya tradisional tidak melanggar norma-norma yang ada pada masyarakat bugis. Sudut pandang tentang pelanggaran tersebut haruslah sesuai dengan hokum hak cipta dan sesuai dengan rancangan undang-undang tentang pengetahuan tradisional dan ekspresi budaya tradisional yang saat ini menunggu untuk disahkan. Pada akhirnya modifikasi atau penggunaan ekspresi budaya tradisional haurslah bermafaat dan dapat mensejahterakan masyarakat aslinya. ......, The Republic of Indonesia, which consists of diverse ethnic and cultural, the existence must be maintained and protected. Currently, the cultural heritage protection was become an urgent issue for the people of Indonesia as often with the times and technological developments, the threat of exploitation of the products of traditional cultural expression is very possible to happen. But on the other hand the use or exploitation of traditional cultural expressions are also important so that its value remains contained in the community. That is what prompted the authors to discuss the use of traditional cultural expressions freely. Theater I La Galigo is a real example where the exploitation of the traditional cultural expression goes straight to its preservation. And as a theater that adopts the storyline of the cultural heritage, it is important to determine the originality so the work can be granted protection within the scope of copyright. On the other hand it is also important to determine that I La Galigo as a modification of traditional cultural expression does not violate the norms that exist in Bugis society. Viewpoints on these violations must be in accordance with copyright laws and corresponding with the draft law on traditional knowledge and traditional cultural expressions that are currently waiting to be approved. In the end, modification or use of traditional cultural expressions should be useful and can giving prosperity to the local communities.]