Hasil Pencarian  ::  Simpan CSV :: Kembali

"[ABSTRAKPanji Angreni merupakan karya sastra yang disalin pada tahun Jawa 1723 atau1795 dari suatu teks abad ke-17 yang?sayang?tidak diketahui teks induknya,pada masa ?budaya lisan kedua?. Teks dibingkai dengan sekar macapat, terdiriatas 48 pupuh ?bab? dan meliputi 1.983 pada ?bait?. Jarak budaya menimbulkanpertanyaan: bagaimana ?cara membaca? PA bagi pembaca masa kini. Dalam halini ?cara membaca? merujuk pada pemaknaan, karena bagaimanapun maknasastra lama dapat dipahami jika ada keakraban antara pembaca dan konvensi padazamannya. Analisis menunjukkan bahwa PA, sebagai teks tulis, menujukkan ciricirikelisanan melalui formula/formulaik. Keberpautan antara kelisanan dankeberaksaraan ditunjukkan oleh macapat sebagai bingkai teks: membaca teks yangdibingkai macapat harus dinyanyikan karena aturan formal pembaitan macapatsekaligus bertautan dengan tata susun nada. Pembacaan teks dengan caraditembangkan seturut tata susun nada akan menghasilkan makna secara padu?baik tekstual maupun keindahan: kisahan, leksikal, tematik dan bunyi (segmentalsuprasegmental-musikal). Membaca PA seyogianya juga memahami pakeliran?pergelaran wayang? kerena adanya tapak-tapak pakeliran pada PA.;

---

ABSTRACTPanji Angreni is a literature work which was copied in the Javanese year of 1723or 1795 AD from 17th century text in the era of ?secondary oral culture? that?unfortunately?was not known for its first hand manuscript. The text of PanjiAngreni is framed by macapat?s songs that consist of 48 cantos ?chapters? andcover 1,983 couplets ?stanzas?. A cultural distance raises a questions on ?how ?toread? Panji Angreni to current readers?? The ?how to read? phrase refers to themeaning, because an old literature meaning can be understood if there is afamiliarity between a reader and conventions text era. Analysis showed that PanjiAngreni, as written text, has literacy characteristic through formula/formulaic. Aninterlocking between orality and literacy is shown by macapat as atext frame;wheres reading a text that is framed by macapat should be sung because formalrules in macapat?s stanzas are engaged to tone row order. Reading the text bysinging it in accordance to tone row order will result in coherent meaning, bothtextual an beauty meaning, particulary in narratives, lexical, thematic and sound(segmental-suprasegmantal-musical). Moreover, those who reading Panji Angrenishould also understand pakeliran ?leather puppet performance story? because thereare many tracs of pakeliran in Panji Angreni.;Panji Angreni is a literature work which was copied in the Javanese year of 1723or 1795 AD from 17th century text in the era of ?secondary oral culture? that?unfortunately?was not known for its first hand manuscript. The text of PanjiAngreni is framed by macapat?s songs that consist of 48 cantos ?chapters? andcover 1,983 couplets ?stanzas?. A cultural distance raises a questions on ?how ?toread? Panji Angreni to current readers?? The ?how to read? phrase refers to themeaning, because an old literature meaning can be understood if there is afamiliarity between a reader and conventions text era. Analysis showed that PanjiAngreni, as written text, has literacy characteristic through formula/formulaic. Aninterlocking between orality and literacy is shown by macapat as atext frame;wheres reading a text that is framed by macapat should be sung because formalrules in macapat?s stanzas are engaged to tone row order. Reading the text bysinging it in accordance to tone row order will result in coherent meaning, bothtextual an beauty meaning, particulary in narratives, lexical, thematic and sound(segmental-suprasegmantal-musical). Moreover, those who reading Panji Angrenishould also understand pakeliran ?leather puppet performance story? because thereare many tracs of pakeliran in Panji Angreni., Panji Angreni is a literature work which was copied in the Javanese year of 1723or 1795 AD from 17th century text in the era of “secondary oral culture” that—unfortunately—was not known for its first hand manuscript. The text of PanjiAngreni is framed by macapat’s songs that consist of 48 cantos ‘chapters’ andcover 1,983 couplets ‘stanzas’. A cultural distance raises a questions on ‘how “toread” Panji Angreni to current readers?’ The “how to read” phrase refers to themeaning, because an old literature meaning can be understood if there is afamiliarity between a reader and conventions text era. Analysis showed that PanjiAngreni, as written text, has literacy characteristic through formula/formulaic. Aninterlocking between orality and literacy is shown by macapat as atext frame;wheres reading a text that is framed by macapat should be sung because formalrules in macapat’s stanzas are engaged to tone row order. Reading the text bysinging it in accordance to tone row order will result in coherent meaning, bothtextual an beauty meaning, particulary in narratives, lexical, thematic and sound(segmental-suprasegmantal-musical). Moreover, those who reading Panji Angrenishould also understand pakeliran ‘leather puppet performance story’ because thereare many tracs of pakeliran in Panji Angreni.]"

"ABSTRAKPenggunaan konsep "orality" merupakan sebuah terobosan yang besar karena selama ini kelisanan selalu dinilai dari sistem nilai keberaksaraan. Sebelumnya, orang yang melek huruf atau beraksara menganggap orang yang tidak beraksara sebagai buta huruf. Kondisi mereka dianggap sebagai suatu kekurangan, ketiadaan, dan kelemahan. Anggapan begitu dapat diterima dalam masyarakat yang beraksara universal. Padahal situasi dalam masyarakat yang belum tersentuh oleh tulisan sama sekali berbeda jika dibandingkan dengan masyarakat beraksara.Meski saat ini amat sulit menemukan masyarakat yang sama sekali niraksara tetapi jejak kelisanan atau orientasi kelisanan itu masih dapat kita temukan dalam masyarakat yang sudah mengenal keberaksaraan tinggi seperti surat kabar awal di Minangkabau.Kelisanan sebagai satu medium, memiliki sistem yang sama sekali berbeda dengan sistem yang terdapat dalam keberaksaraan. Kita tidak dapat mellihat keunggulan kelisanan jika kita belum berhasil menorobos hadangan keberaksaraan kita. Surat kabar terbitan awal di Minangkabau memperlihatkan adanya interaksi antara kedua medium ini melalui beberapa ciri kelisanan yang disampaikan oleh Ong dan Sweeney. Ciri-ciri kelisanan yang terdapat dalam surat kabar terbitan awal di Minangkabau inilah yang akan dibahas dalam disertasi ini.

---

ABSTRACTThe use of the concept ?orality? constitutes an important break-through, because, until recently, the worth of orality has always been assessed from the point of view of literacy and its value system. In the past, people able to read and write, literates, considered those without letters to be illiterate. Their condition was defined as a deficiency, an absence, a weakness. Such a standpoint may be acceptable in a full-fledged literate society. However, in a society that has not yet been touched by literacy, the situation is totally different from that in a literate society. Even though today it is quite difficult to find a society that is without any script whatsoever, we can still find traces of orality, or of oral orientation, in societies such as Minangkabau, which are characterized by high levels of literacy.Orality as a medium represents a system that differs totally from a literate one. We cannot appreciate the forte of orality if we don?t break through the limitations of our own literacy. Using characteristics of orality as identified by scholars such as Walter Ong and Amin Sweeney, it can be shown that in the earliest newspaper publications in Minangkabau society, there was considerable interaction between orality and literacy. It is the oral characteristics in these early Minangkabau newspaper publications that will be discussed in this PhD thesis."

"Novel Di Bawah Lindungan Kabah karya Hamka merupakan novel yang sangat populer. Kepopuleran novel Di Bawah Lindungan Kabah menyebabkan banyaknya apresiasi terhadap novel tersebut. Salah satu bentuk apresiasi terhadap novel tersebut adalah alih wahana dari novel ke film. Namun demikian, perubahan media penyampaian cerita dari novel menjadi film mengakibatkan adanya perubahan cerita. Sehingga penulis tertarik untuk menganalisis hal tersebut dengan cara membandingkan novel dan film Di Bawah Lindungan Kabah melalui karakterisasinya dengan menggunakan pendekatan kelisanan dan keberaksaraan Walter J. Ong. Metode penelitian tersebut adalah metode pustaka, menyimak, dan mencatat. Hasil penelitian menunjukkan bahwa terdapat persamaan dan perbedaan dalam karakterisasi novel dan film Di Bawah Lindungan Kabah. Persamaannya terdapat pada namanama tokoh ceritanya, sedangkan perbedaannya terdapat dalam penggambaran watak tokoh cerita. Perbedaan tersebut disebabkan media yang digunakan untuk menyampaikan cerita memiliki ciriciri yang berbeda sehingga berpengaruh terhadap cerita yang disampaikannya."