Articles
<![CDATA[Peranan Untung Surapati di Wilayah Mataram dalam Babad Trunajaya-Surapati ]]>
<![CDATA[Guntur Sekti Wijaya]]>;
<![CDATA[Achmad Zulfikar N.]]>;
<![CDATA[Alhadisatur Rofiqoh]]>;
<![CDATA[Dwi Rofikoh]]>;
<![CDATA[Widayawati Widayawati]]>;
<![CDATA[Khusnul Villah]]>;
<![CDATA[Puji M. Arfi]]>;
<![CDATA[Syahrul Ramadhan W.]]>
<![CDATA[ SULUK: Jurnal Bahasa, Sastra, dan Budaya Vol. 1 No. 1 (2019): Maret ]]>
Publisher : <![CDATA[Program Studi Sastra Indonesia UIN Sunan Ampel Surabaya ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (230.913 KB)
|
DOI: 10.15642/suluk.2019.1.1.51-58
<![CDATA[Babad Trunajaya-Surapati tells about the life journey of a character named Untung, a child who came from Bali. This study aims to determine the role of Untung Surapati in Mataram based on Babad Trunajaya-Surapati. This study uses qualitative method based on the main literature of which has been rewritten in Indonesian as well as the delicate Javanese language written by Sudibjo Z. H. and translated by Soeparmo (2011). The results of this study are (1) The story of Untung Surapati, (2) The background of the arrival of Untung Surapati to Mataram, and (3) The role of Untung Surapati in Mataram based on Babad Trunajaya-Surapati. Overall, it can be seen that the role of Untung Surapati in the Mataram was recorded in Babad Trunajaya-Surapati.]]>
<![CDATA[Tradisi Keagamaan Sebagai Bentuk Pelestarian Budaya Masyarakat Jawa Pada Masa Pandemi ]]>
<![CDATA[Dwi Susanto]]>;
<![CDATA[Ainur Rosidah]]>;
<![CDATA[Deivy Nur Setyowati]]>;
<![CDATA[Guntur Sekti Wijaya]]>
<![CDATA[ SULUK: Jurnal Bahasa, Sastra, dan Budaya Vol. 2 No. 2 (2020): September (Special Theme) ]]>
Publisher : <![CDATA[Program Studi Sastra Indonesia UIN Sunan Ampel Surabaya ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (236.019 KB)
|
DOI: 10.15642/suluk.2020.2.2.107-118
<![CDATA[Petiken is one of the villages in Gresik Regency that still preserves religious traditions. In its implementation, this tradition is an annual routine. Religious traditions are still carried out by the community even during the COVID-19 pandemic. This study aims to (1) find out the religious traditions in Petiken, Driyorejo, Gresik Villages before the COVID-19 and (2) know the religious traditions in Petiken Village, Driyorejo, Gresik as a form of cultural preservation of the community during the COVID-19 pandemic. This research uses qualitative methods with data collection through interviews and observations. The results of this study were (1) religious traditions in Petiken Village, Driyorejo, Gresik before the COVID-19 were carried out normally, both annual traditions and weekly routines and (2) religious traditions in Petiken Village,the early days of the arrival of COVID-19 which made all traditions temporarily abolished, the PSBB period with the implementation of some traditions underwent a change, and a new normal period by re-implementing all traditions by complying with health protocols.]]>
<![CDATA[REVOLUTIONARY STRUGGLE OF SUBALTERN WOMEN IN BENDE MATARAM DRAMA SCRIPT ]]>
<![CDATA[Wijaya, Guntur Sekti]]>
<![CDATA[ Jurnal Disastri (Jurnal Pendidikan Bahasa dan Sastra Indonesia) Vol 5 No 1 (2023): Jurnal Disastri: Pendidikan Bahasa dan Sastra Indonesia ]]>
Publisher : <![CDATA[Program Studi Pendidikan Bahasa dan Sastra Indonesia ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33752/disastri.v5i1.3720
<![CDATA[Budaya kolonialisme tidak berhenti saat penjajah pergi dari bekas tanah jajahannya. Budaya tersebut berasimilasi dengan budaya penduduk setempat dengan wujud baru. Jika dulu penjajah menguasai terjajah, maka di zaman pascakolonial penjajah dipegang penduduk yang memunyai kekuasaan untuk menguasai terjajah yang dipegang oleh orang-orang yang dikalahkan. Hal tersebut terjadi pada ranah subaltern di mana Spivak mengkhususkan atensinya terhadap para perempuan yang dipinggirkan. Hal tersebut tampak dalam naskah drama Bende Mataram di mana perempuan dialienasi oleh banyak lapisan. Meski begitu, perempuan di dalam naskah drama tersebut tidak diam, tetapi mereka menunjukkan perlawanan. Mekanisme ketertindasan dan resistensi perempuan di dalam naskah drama tersebut dianalisis dengan menggunakan teori milik Spivak. Hasilnya, tampak bahwa perempuan tidak hanya ditundukkan dalam bingkai laki-laki dan perempuan, tetapi ia juga ditundukkan dalam bingkai ayah dan anak perempuan dalam keluarga. Kendati begitu, sebagai perempuan sekaligus anak perempuan ia berani untuk menyuarakan pendapatnya sebagai bentuk resistensi. Hal tersebut menjadi penanda bahwa perempuan juga bisa berbicara untuk menentang ketertindasannya. Ini menjadi jalan masuk penelitian lain bahwa sebenarnya perempuan juga bisa beraksi atau bahkan melawan dominasi yang menindasnya. Perempuan tidak hanya beposisi sebagai objek, tetapi mereka malah bisa menjadi subjek penting dalam bermasyarakat.]]>
<![CDATA[WUJUD MITOS DALAM NOVEL ANAK KKPK KEMBAR TIDAK AKUR KARYA RAYYA IZZARA ABQARY ]]>
<![CDATA[Adira Marsa Yafi Prasasti]]>;
<![CDATA[Guntur Sekti Wijaya]]>
<![CDATA[ Linguistik : Jurnal Bahasa dan Sastra Vol 9, No 3 (2024): LINGUISTIK: Jurnal Bahasa dan Sastra ]]>
Publisher : <![CDATA[Universitas Muhammadiyah Tapanuli Selatan ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31604/linguistik.v9i3.549-555
<![CDATA[Berbagai mitos kini sudah mulai berkembang dikalangan masyarakat sehingga tidak menutup kemungkinan jika representasi dari sebuah mitos yang sudah beredar dapat mempengaruhi penulis dalam menghasilkan sebuah karya. Mitos tidak hanya sekedar kepercayaan tentang setuatu yang gaib pada peristiwa, tetapi juga membangun ideologi dan memberikan pengaruh tertentu. Pada novel anak KKPK Kembar Tidak Akur karya Rayya Izzara Abqary memuat salah satu mitos mengenai ketidakakuran sepasang sauadara kembar melalui alur cerita dan dialog yang disajikan. Penelitian ini mengangkat permasalahan bagimana wujud mitos yang sudah beredar di masyarakat di representasikan dalam alur cerita pada novel anak KKPK melalui dialog percakapan tokoh dalam penceritaannya. Peneliti menggunakan pendekatan semiotika Barthes dalam menganalisis data penelitiannya. Isu mitos dalam cerita digunakan teori mitos Barthes sebagai aspek membongkar wacana isi cerita. Mitos merupakan kajian pendekatan semiotik yang dicetuskan oleh Roland Barthes. ]]>
<![CDATA[STRUKTUR KEPRIBADIAN PROTAGONIS PADA CERPEN OREZ KARYA BUDI DARMA: KAJIAN PSIKOANALISIS FREUDIAN ]]>
<![CDATA[Tiara Viona Veronica]]>;
<![CDATA[Guntur Sekti Wijaya]]>
<![CDATA[ MATAPENA: Jurnal Keilmuan Bahasa, Sastra, dan Pengajarannya Vol. 7 No. 01 (2024): Juni 2024 ]]>
Publisher : <![CDATA[Indonesian language and literature education program Majapahit Islamic University ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.36815/matapena.v7i01.3013
<![CDATA[The purpose of this research was to describe the personality structure of the character ‘Saya’ in the short story Orez by Budi Darma using Freud’s psychoanalysis approach, especially about the three personality structures that focus on the id, ego, and superego of the character ‘Saya’. This research was a descriptive-qualitative research. The method of data collection was done with the note-taking technique. The analysis method used was by reducing data, presenting data, and drawing conclusions. The findings of this research showed that the ego structure is more dominant in controlling ‘Saya’ in his daily life, seen from the way ‘Saya’ faces internal conflicts between primitive desires and social norms. When the id emerges in the form of desire without considering the social impact, the ego acts as a mediator so that the desire is realised in a logical way. Meanwhile, the superego influences ‘Saya’s moral response to difficult situations. The three personality structures are very influential in shaping the behaviour and decisions of ‘Saya’.]]>
<![CDATA[RUU MINOL DAN KRITIK ELITISME: TELAAH LIRIK LAGU DAN MUSIK VIDEO ORANG MISKIN DILARANG MABOK ]]>
<![CDATA[Rochmah, Nuzurul]]>;
<![CDATA[Wijaya, Guntur Sekti]]>;
<![CDATA[Shofiyuddin, Haris]]>
<![CDATA[ INDONESIA: Jurnal Pembelajaran Bahasa dan Sastra Indonesia Volume 5 Number 1 February 2024 ]]>
Publisher : <![CDATA[Universitas Negeri Makassar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.59562/indonesia.v5i1.58288
<![CDATA[This research aims to describe the bill on alcoholic beverages and the criticism of elitism in the song lyrics and music video of Orang Miskin Dilarang Mabok. The approach used in this research is a qualitative approach that is interpretative in nature to describe data analysis related to the main points of discussion in the research. The material object in this research is the song lyrics and visuals of Orang Miskin Dilarang Mabok by Libertaria in collaboration with Sirin Farid Stevy, vocalist of rock music group FSTVLST. The research data was analysed using the qualitative data analysis method of Miles and Huberman. The results of the research show that through a qualitative approach that is descriptive-interpretative as a research method, the meaning of the song lyrics and music video of Orang Miskin Dilarang Mabok has a connection with the discourse of criticism of elitism and irregularities in the issuance of the Alcoholic Beverage Prohibition Bill.]]>
<![CDATA[REVOLUTIONARY STRUGGLE OF SUBALTERN WOMEN IN BENDE MATARAM DRAMA SCRIPT ]]>
<![CDATA[Wijaya, Guntur Sekti]]>
<![CDATA[ Jurnal Disastri (Jurnal Pendidikan Bahasa dan Sastra Indonesia) Vol 5 No 1 (2023): Jurnal Disastri: Pendidikan Bahasa dan Sastra Indonesia ]]>
Publisher : <![CDATA[Program Studi Pendidikan Bahasa dan Sastra Indonesia ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33752/disastri.v5i1.3720
<![CDATA[Budaya kolonialisme tidak berhenti saat penjajah pergi dari bekas tanah jajahannya. Budaya tersebut berasimilasi dengan budaya penduduk setempat dengan wujud baru. Jika dulu penjajah menguasai terjajah, maka di zaman pascakolonial penjajah dipegang penduduk yang memunyai kekuasaan untuk menguasai terjajah yang dipegang oleh orang-orang yang dikalahkan. Hal tersebut terjadi pada ranah subaltern di mana Spivak mengkhususkan atensinya terhadap para perempuan yang dipinggirkan. Hal tersebut tampak dalam naskah drama Bende Mataram di mana perempuan dialienasi oleh banyak lapisan. Meski begitu, perempuan di dalam naskah drama tersebut tidak diam, tetapi mereka menunjukkan perlawanan. Mekanisme ketertindasan dan resistensi perempuan di dalam naskah drama tersebut dianalisis dengan menggunakan teori milik Spivak. Hasilnya, tampak bahwa perempuan tidak hanya ditundukkan dalam bingkai laki-laki dan perempuan, tetapi ia juga ditundukkan dalam bingkai ayah dan anak perempuan dalam keluarga. Kendati begitu, sebagai perempuan sekaligus anak perempuan ia berani untuk menyuarakan pendapatnya sebagai bentuk resistensi. Hal tersebut menjadi penanda bahwa perempuan juga bisa berbicara untuk menentang ketertindasannya. Ini menjadi jalan masuk penelitian lain bahwa sebenarnya perempuan juga bisa beraksi atau bahkan melawan dominasi yang menindasnya. Perempuan tidak hanya beposisi sebagai objek, tetapi mereka malah bisa menjadi subjek penting dalam bermasyarakat.]]>
<![CDATA[Representation of Surrounding Communities in Iwan Simatupang's RT-Nol/RW-Nol Drama Script (Sociology of Literature Theory) ]]>
<![CDATA[Shofiyuddin, Haris]]>;
<![CDATA[Wijaya, Guntur Sekti]]>
<![CDATA[ Jurnal Disastri (Jurnal Pendidikan Bahasa dan Sastra Indonesia) Vol 6 No 2 (2024): Jurnal Disastri: Pendidikan Bahasa dan Sastra Indonesia ]]>
Publisher : <![CDATA[Program Studi Pendidikan Bahasa dan Sastra Indonesia ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33752/disastri.v6i2.4711
<![CDATA[This research examines the play script by Iwan Simatupang entitled RT-Nol / RW-Nol using the sociology of literature theory by Alan Swingewood and Diana Laurenson and the literary research method by Moleong. The problems are the forms of injustice that some people accept and the social criticism that the playwright tries to construct through words. This drama script reflects the real life of the lower or suburban community in big cities in Indonesia. The main focus revolves around the problem of homeless and beggars who do not have a home and do not have a steady income. The playwright does not merely write a literary work for audiences to read. Still, the writer of RT-Nol / RW-Nol has a hidden intention to make the readers aware that some parts of lives need to be improved to not further create globalization residues in human beings. The playwright also tries to criticize several systems operating in a society where the system is not or has not been under the norms of society. This discussion resulted in several conclusions, one of which is that a rule can be played. Furthermore, there is criticism regarding the injustice of the social system, which has led to the emergence of homeless people and beggars in especially big cities. Then there is the problem of income resulting from unrighteous and unethical ways. Even from that income, a human can buy a social title so the surrounding community increasingly sees it. The last conclusion is regarding words and actions that should be harmonious. Sometimes words are needed, but more than words are required to convince someone. A woman needs certainty, and a man needs to work to build self-esteem. Keywords: surrounding communities, social criticism, sociology of literature]]>
<![CDATA[RAMBU SOLO DALAM CERPEN AMBE MASIH SAKIT: KAJIAN ANTROPOLOGI SASTRA ]]>
<![CDATA[Wijaya, Guntur Sekti]]>
<![CDATA[ Bahtera Indonesia Jurnal Penelitian Bahasa dan Sastra Indonesia ]]>
Publisher : <![CDATA[Universitas Wiralodra ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31943/bi.v10i2.1142
<![CDATA[Penelitian ini mengkaji ritual rambu solo yang terdapat dalam cerpen Ambe Masih Sakit karya Emil Amir dengan teori antropologi sastra. Rambu solo merupakan upacara pemakaman adat Tana Toraja yang sarat dengan nilai-nilai budaya, spiritualitas, dan kehormatan terhadap leluhur. Melalui analisis antropologi sastra, penelitian ini bertujuan untuk memahami dinamika budaya yang tergambar dalam cerpen tersebut serta mencermati konflik antara generasi tua yang ingin mempertahankan tradisi dan generasi muda yang mulai mempertanyakan relevansi ritual tersebut dalam konteks modernisasi dan globalisasi. Penelitian ini menggunakan metode kualitatif-deskriptif dengan mengidentifikasi elemen-elemen kebudayaan yang ada dalam teks cerpen serta memahami peran ritual dalam membentuk identitas budaya masyarakat Toraja. Hasil penelitian menunjukkan bahwa rambu solo bukan sekadar upacara adat, tetapi merupakan representasi kompleks dari hubungan sosial, status, dan nilai budaya yang terancam oleh perubahan zaman. Penelitian ini memberikan pemahaman mendalam tentang dinamika konflik antargenerasi dalam pelestarian ritual rambu solo sekaligus menawarkan wawasan bagi upaya adaptasi tradisi Toraja di tengah tantangan modernisasi tanpa mengorbankan nilai-nilai kulturalnya.]]>
<![CDATA[Mistikisme Kiai dalam Cerpen Kiai Genggong karya Moh. Wan Anwar (Kajian Realisme Magis) ]]>
<![CDATA[Wijaya, Guntur Sekti]]>;
<![CDATA[Lestari, Erawati Dwi]]>
<![CDATA[ SULUK : Jurnal Bahasa, Sastra, dan Budaya Vol. 6 No. 2 (2024): September ]]>
Publisher : <![CDATA[Program Studi Sastra Indonesia UIN Sunan Ampel Surabaya ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.15642/suluk.2024.6.2.128-145
<![CDATA[In Indonesia it is often heard and seen that a situation can occur because there is a mystical element around it. This mystical element goes hand in hand with normal conditions and this has become normal consumption in society. This confusion between reality and mysticism also often appears in the stories of islamic kiai/ulama. They have supernatural powers where these conditions are manifested in the real world so that these real conditions become even more unique with the presence of this mystical element. The supernatural powers within the kiai's body are displayed beautifully in the short story Kiai Genggong by Moh. Wan Anwar. We know that the world of literature does not just create reality as a framework for stories, but mystical elements can also be injected into it. These mystical elements are sometimes inexplicable and supernatural. In it there are strange events so that there seems to be no boundary between the real situation and the supernatural when they collide with each other. By using Wendy B. Faris' theory of magical realism and combining it with Lexy J. Moleong's qualitative research method, this research tries to explore mystical points above the surface of normality in short stories to find out the role and function of mysticism in life. Based on this research, it is known that mysticism in Indonesian islamic boarding schools plays a role as a means of spiritual development and deep understanding of islamic teachings. Its main functions include strengthening the relationship with God, enriching religious experiences, and educating students about moral and ethical values through practices such as dhikr, wirid, and special rituals. Apart from that, mysticism also helps maintain the unique religious traditions and culture in the islamic boarding school environment.]]>
