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All Journal E-Jurnal Kajian Budaya E-JURNAL LINGUISTIK HUMANIS E-Journal of Linguistics E-Journal Of Cultural Studies Linguistika Jurnal Kajian Bali Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies Udayana Journal of Social Sciences and Humanities (UJoSSH) International Journal of Social Science Stilistika: Journal of Indonesian Language and Literature
I Wayan Cika
Indonesian Department Faculty Of Arts, Udayana University
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Medicine & Pharmacology Public Health Social Sciences Other

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WACANA KRITIK SOSIAL WAYANG CENK BLONK, JOBLAR, DAN SIDIA I Nyoman Suwija; Prof. Dr. I Wayan Cika, M.S.; Prof. Dr. Nyoman Kutha Ratna S.U.; Prof. Dr. I Made Suastika, S.U.
e-Journal of Linguistics Vol. 2. Mei 2008 No. 1
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

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Abstract

Wayang C?nk Blonk, Joblar, dan Sidia yang termasuk pertunjukan wayang kulit Bali kreasi baru dan diminati oleh masyarakat belakangan ini cukup banyak mengkomunikasikan wacana-wacana kritik sosial.Penelitian ini bertujuan untuk membahas enam permasalahan berkenaan dengan wayang C?nk Blonk, Joblar, dan Sidia yaitu: (1) eksistensi dan pe-minggiran kedudukan wayang kulit Bali, (2) Kemasan wacana kritik sosial, (3) bentuk wacana kritik sosial, (4) fungsi wacana kritik sosial, (5) sasaran dan amanat wacana kritik sosial, dan (6) tanggapan penonton terhadap wacana kritik sosial wayang C?nk Blonk, Joblar, dan Sidia.Landasan teori penelitian ini adalah teori wacana naratif, teori resepsi sastra, dan teori dekonstruksi. Penerapan teori-teori tersebut disertai dengan metode pengumpulan data: (1) observasi, (2) wawancara, (3) studi dokumen; Metode dan teknik analisis datanya, deskriptif kualitatif; dengan metode penyajian hasil penelitian formal dan informal.Analisis bentuk wacana kritik sosial menghasilkan temuan bahwa wacana kritik sosial dapat dikomunikasikan melalui: (1) dialog antarpenasar, (2) dialog penasar dengan ksatria, (3) dialog atman dengan dewa, (4) dialog punakawan dengan raksasa, dan (5) dialog dewa dengan raja. Kajian bentuk kebahasaannya meliputi: (1) alternatif pemilihan tata ungkapan, (2) pemakaian paribasa Bali, (3) pepatah bahasa Indonesia, dan (4) pelesetan lagu pop Bali. Tingkatan bahasa Bali yang digunakan: (1) basa kasar, (2) basa andap, dan (3) basa madia.Analisis fungsi wacana kritik sosial menghasilkan temuan: (1) fungsi hiburan, (2) fungsi pendidikan, (3) fungsi informatif, dan (4) fungsi pelestarian budaya. Kritik sosial para dalang mencapai sasaran: (1) pemimpin, (2) masyarakat pemilih, (3) calon DPR/DPR, (4) seorang anak, (5) hakim/penegak hukum, (6) balian atau dukun, (7) penjudi, (8) seorang suami. dan (9) masyarakat luas lainnya. Amanat yang tersirat di dalamnya meliputi: (1) amanat kepemimpinan; (2) amanat hutang dan yadnya anak; (3) amanat petuah dan nasihat; (4) amanat kepribadian dan (5) amanat seni budaya. Tanggapan penonton terhadap wacana kritik sosial yang dikomunikasikan para dalang sangat positif.
en Ida Bagus Made Wisnu Parta; I Nyoman Suarka; I Wayan Cika; I Made Suastika
e-Journal of Linguistics Vol 16 No 1 (2022): ejl-January
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/e-jl.2022.v16.i01.p10

Abstract

The people enthusiastically received the Candra Bhairawa manuscript. Its purpose of altering legitimacy is to validate Shiva Buddha syncretism in Bali. Problem in this study is text transformation on Candra Bhairawa manuscript for community. To describe Candra Bhairawa manuscript as one of the texts that justify Shiva Buddhist syncretism in society. This study is qualitative and uses structural functionalism theory. The Candra Bhairawa manuscript data was analyzed using descriptive statistics and reading methods. Data analysis in prose and poetry with Old Javanese and Balinese into a descriptive form in Indonesian. Based on the value systems and beliefs of individuals and groups, the research explains the legitimacy process. The syncretism of Shiva Buddha combines Shiva and Buddha teachings. That the two teachings of Shiva (karma sanyasa) and Buddhist teachings (yoga sanyasa) may be combined into one is proof of the legitimacy of Shiva Buddhist syncretis which can bring balance and harmony.
DHARMAYATRA IN THE DWIJENDRA TATTWA TEXT ANALYSIS OF RECEPTION Ida Bagus Rai Putra; I Nyoman Weda Kesuma; I Wayan Cika; I Made Suastika
e-Journal of Linguistics Vol. 5. Januari 2011 No. 2
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

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Abstract

The object of the study is Dwijendra Text (hereinafter abbreviated to DT). It containsinteresting narrations and is importantly related to the dharmayatra, the holy religious journeymade by Dang Hyang Nirartha, the charismatic figure, in Bali, Lombok and Sumbawa. Beforethe analysis of reception was conducted, the corpus text of the DT texts completely andstructurally telling the religious journey made by Dang Hyang Nirartha was successfullydetermined. The analysis in this study was made to answer the following questions: what is thenarrative structure of the DT text; what are the enlightenment image entities of the dharmayatraof the DT text; how do people appreciate the dharmayatra of the DT text? The answers to thenarrative structure of the DT text; the image entities and the appreciation provided by people arethe main objectives of this study.The theories adopted in this study are the theory of reception introduced by Jauss, thetheory of semiotics introduced by Pierce and the theory of mythology introduced by Barthes. Asa qualitative study, the data needed were collected by the methods of observation, note taking,documentation and interview supported with a sound recorder and pictures. The results of theanalysis are informally presented, meaning that they are verbally described in the form of wordswhich are systematically composed based on the problems formulated in this study.The analysis of the narrative structure of the DT text contains narrative units which are inthe forms of theme, characters and plots. They all unite to form stories which are mythological,legendary, symbolic, hagiographic and suggestive in nature. Based on the analysis ofenlightenment image entities, it can be concluded that there are three basic entities leading to thecreation of the DT text. They are first enlightenment; second protection of Hinduism; and thirdconstruction of temple institutions. Based on the reception analysis, it can be concluded thatpeople, through their literary works, books, articles and websites, appreciate the discourse of thedharmayatra performed in Bali, Lombok and Sumbawa.The ten essential findings in this study can be described as follows. (1) The corpus text ofthe DT, which is in the form palm-leaf manuscript (lontar) and was obtained from GriyaBaturening Mambal, is kept as a collection at the Perpustakaan Lontar Fakultas SastraUniversitas Udayana (the Library of Palm-leaf Manuscripts of the Faculty of Letters, UdayanaUniversity). It is coded under no. 1514, kropak (box) no. 293. The DT text describes the real journey of Dang Hyang Nirarta, the great holy Hindu teacher, concretely, completely andstructurally. (2) As a literary text of history, the DT text has a highly narrative structure formedby theme, characters and plots which are unified in the forms of mythologies, legends,hagiographies, symbolisms and suggestive. (3) The dharmayatra made by Dang Hyang Nirartha,as described in the DT text, gave enlightenment and welfare to the kingdom and its people. (4)The teacher-learner (guru-sisya) teaching contained in the DT text may inspire a harmonious andethic relationship as far as teaching-learning process and priesthood are concerned. (5) Theconcern about the principle of unity in diversity taught by him may give relevant multiculturalperception of the current and upcoming way of life and Indonesianization. (6) The DT textreveals that those who belong to the Brahmin caste (Brahmana) have been descended from him.However, if viewed from the spiritual and priesthood points of view, he has been the source ofspirituality for Hindus, Buddhists, Moslems and those who do not belong to any religion (kapir).(7) The DT text shows that he is also called Pedanda/Bhatara Sakti Wawu Rawuh as he washighly powerful (sakti) and has symbolized the complete mastery of material and spiritualknowledge. (8) The religious journey (dharmayatra) made by him from Java to Bali, Lombokand Sumbawa aimed at protecting Majapahit Hinduism from being suppressed by Islam whichhad already spread all over the Archipelago. The protection of Hinduism and the construction ofthe temple institutions referred to the religious meaningfulness implemented by him. (9) Thisstudy explains that in Lombok he spread three religious teachings such as Gama Siki GamaThirtha, Gama Kalih Budha Paksa, and Gama Tiga Selame Metu Telu. (10) High appreciation isprovided to the dharmayatra he made in Bali, Lombok and Sumbawa. Such an appreciation orreception highly varies; in other words, it is expressed in the forms of literary works, books,articles and websites.
CULTURAL DIVERSITY IN THREE MOTINGO BUSYE’S ROMANCE “POPULAR” NOVELS Maizufri -; I Nyoman Kutha Ratna; I Wayan Cika; I Nyoman Weda Kusuma
e-Journal of Linguistics Vol. 7. Juli 2013 No. 2
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

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Abstract

This study is entitled Cultural Diversity in Three Motingo Busye’s Romance “Popular” Novels and explored three novels written by Motingo Busye (hereinafter abbreviated to MB), Fatimah Chen Chen, Hotel Halekulani, and Seribu Senja di Roma. It aimed at identifying the cultural styles used in the three novels using the theory of intertextuality proposed by Julia Kristeva. It investigated how the writer described the images of many cultures in the world narrated in the three novels using the sociological approach and psychological approach. It revealed the characterization of the main characters during their lives through the sequence of id, ego, and super ego. Apart from that, several cultural forms as to how the writer named the characters in the three novels were also investigated. The forms of cultural diversity found in the present study are as follows (1) out of 76 characters in the three novels coming from four countries, seven cities and regions, 38 forms of images coming Europe, America, and Asia (Taiwan and Indonesia) were found; (2) from the process of characterization of the main characters, as far as their images were concerned, it was found that the forms of cultural pluralism varied; they were samen leven (living together), polygamy, and the phenomenon of illegitimate children; (3) Apart from that, with regard to how the characters were named (the naming process), the three novels showed the nuance of cultural pluralism involving various cultures in the world. It turned out that how the so many characters were named needed high and wide awareness and knowledge of various cultures as the material of the essence of the images.
USADA BHUDA KACAPI: BALINESE TRADITIONAL THERAPY (USADA) LITERARY TEXT I Ketut Jirnaya; I Made Suastika; I Wayan Cika; I Nyoman Weda Kusuma
e-Journal of Linguistics Vol. 5. Juli 2011 No. 2
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

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Abstract

Usada Budha Kacapi (abbreviated to UBK) text, which contains the basic Balinese traditional therapy, is a text which is in the form of narration. The Balinese traditional therapy (usada) texts generally contain collections of names of diseases, medicinal substances, and how to cure such diseases; however, the UBK is in the form of narration, containing characters, setting, themes, and literary language. The UBK text, after being edited, is recorded in a number of palm-leaf manuscripts. The title is the same but the content varies. Budha Kecapi is the main character, which has inspired many other writers; therefore, the works produced still use the same language units as used by Budha Kacapi. Such works are Budha Kacapi Cemeng, Budha Kacapi Putih, and Budha Kacapi Sastrasanga . It is this which has inspired the researcher to explore the UBK in order to know who and what Budha Kacapi is. In order to be able to identify the message transmitted to the reader or the community, and its totality, it is necessary to know, understand, and analyze the signs it contains. Therefore, two theories are used in this study; they are the theory of intertextuality and the theory of semiotics. The results of analysis show that the writers wish to teach and guide those who desire to be professional indigenous medical practitioners ‘dukun’, namely, the ones who are highly knowledgeable of traditional therapy, ethical and not easily defeated by diseases. That, according to Budha Kacapi, can be achieved through ‘yogasastra’. The indigenous medical practitioners should improve their quality through yoga (meditation) and aksara suci (holy scripts) as the means. A set of learning materials related to the basic knowledge needed by the indigenous medical practitioners are systematically organized, starting from how to recruit the prospective learners, the learning method, how to diagnose (nenger), the philosophy of life and death, the philosophy of diseases, the concept of being healthy and sick, the compensation, types of diseases, and how to cure diseases. As a whole, the UBK text contains the basic and advanced levels of learning materials for indigenous medical practitioners. The advanced level means that if they study the UBK text and are able to apply it properly, they will not by all means be defeated by diseases.
GEGURITAN (MANUSCRIPT) OF I GEDE BASUR AND I KETUT BUNGKLING WRITTEN BY KI DALANG TANGSUB: INTERTEXTUAL AND RECEPTIONAL ANALYSIS I Wayan Suardiana; Nyoman Kutha Ratna; I Wayan Cika; I Made Suastika
e-Journal of Linguistics Vol. 3. Juli 2009 No. 2
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

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Abstract

This study employs the texts of I Gede Basur and I Ketut Bungkling contained inthe text of Kidung Prembon (abbreviated into KP) as the data source to explain theintertextual relationship and receptive process of the texts of Geguritan I Gede Basur(abbreviated into GIGP) and Geguritan I Ketut Bungkling (abbreviated into GIKB)written by Ki Dalang Tangsub. The reason is that when this study was conducted theneither the text of GIGB nor GIKB written by the authoritative Ki Dalang Tangsub wasfound. Then the text of KP has multiple functions; on one side, as an existing text, it isassumed to contain the texts of GIGB and GIKB written by the authoritative Ki DalangTangsub, and on the other side, it is a receptive text of the texts of GIGB and GIKBwritten by Ki Dalang Tangsub.The theories of intertexts, reception and discourse were used as the means ofanalysis in this study. The theory of intertexts could reveal the historical process of thetexts of GIGB and GIKB written by Ki Dalang Tangsub and the creation process of thetext of KP. The theory of reception was basically used to explain the process of how thereaders gave responses to the texts of GIGB and GIKP written by Ki Dalang Tangsub.The process of how the readers gave responses was revealed by the text of KP (in clockstories) as well as the other individual texts.Intrinsically, the texts of GIGB and GIKB written by Ki Dalang Tangsub giveparticular colors to the texts of the responses given, as Pupuh/Tembang Ginada (strophe)is entirely adopted in the texts of responses given the readers making the particularcharacteristics of the hypogram texts compared to the following texts clear. Havingmagical and social critical themes, many hyperboles, similes and sarcasms are used in thetexts of GIGB and GIKB written by Ki Dalang Tangsub. The plots of the texts of GIGBand GIKB are made up of 28 big sequences and 29 small sequences with the maincharacters are I Gede Basur and I Ketut Bungkling (Mantri as one of the characters).
BAGURAU: MINANGKABAU ORAL LITERATURE IN LUHAK NAN TIGO WEST SUMATRA Khairil Anwar; I Wayan Cika; I Nyoman Kutha Ratna; I Nyoman Weda Kusuma
e-Journal of Linguistics Vol. 4. Juli 2010 No. 2
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

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Abstract

This research presents the results of analysis and the description of severalproblems related to the oral literary work of Bagurau which have not beencompletely and deeply analyzed by previous researchers. The problems are related tothe oral literary text of Bagurau. In line with the problems discussed, qualitativemethod with sociological approach is applied in this study. This means that theresearch was initiated by comprehending the data and then the theory ofdeconstruction, that is, the theory of “trace” functions and the theory ofhypersemiotics were chosen for analyzing the data. The theories were observed insuch a way that they could be synthesized into one theory or a novelty.The description of the results of analysis was initiated by presenting thesocial context of Bagurau which was then continued with the forms of the textincluding the construction of the text with regard to its scheme, communicativepattern, formulas, sound elements, style, diction, theme, characters and setting. Basedon the deconstruction pattern introduced by Derrida, as far as the text of Bagurau isconcerned, several new forms of text have been found developing. They are theforms of parody, schizophrenia, kitsch, pastiche, hybrid, eclectic, and nonsense.Based on what has been traced, the text of Bagurau used to function as amusement toexpress joy, production and reproduction of local culture, expression, representation,economy, introspection, and togetherness. Then the meanings which have been foundare the meanings of pluralism, egalitarianism, emancipation, democracy, theideology of parewa, destruction of phallocentrism, solidarity, social control, and self- esteem - embarrassment.
CEPUNG SASAK: ORAL TRADITION IN LOMBOK WEST NUSA TENGGARA Ida Bagus Kade Gunayasa; I Nyoman Weda Kusuma; I Wayan Cika; I Nyoman Suarka2
e-Journal of Linguistics Vol. 5. Januari 2011 No. 2
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

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Abstract

The problems discussed in this study are the process of the creation of CepungSasak (abbreviated to CS), its structure, its context of image, its function and meaning.The data needed was collected by ethnographic method and library research. Four maintheories were adopted for analyzing the data; they are the structural theory, the Lord’sformula, the theory of literary semiotics and the functional theory. The objectives wereachieved by analyzing the process of the CS creation, its textual structure, its context ofimage, its function and meaning in the middle of Sasaknese community.Based on the results of the data analysis, it can be inferred that the elementsforming the CS structure are form, formula, theme, sound and style. One of the culturalcontextual elements which does not play any role is the particular event underlying theimage. The process of its creation takes place within and outside the plots. Its plotsfunction to recall the past, to educate, to amuse, to express interethnic group solidarity, tocontrol social matters, to resist social matters and to give religious teachings. Themeanings of the CS are love and affection, acknowledgement of social stratification andcollective awareness.The novelties in this study are the formula and theme are different from thoseintroduced in the Lord’ theory. The Lord’s theory of formula is not entirely applicable tothe CS. The reason is that the process how the CS is created is not based on formula buton the pattern of rhyme and stimulus such as flute, rebab (two-stringed musicalinstrument), music produced by the mouth and pengeriong ‘penurut’ (another musical instrument). The process of how it is created is not the same as that stated by Lord. It issimilar to that stated by Finnegan, that is, it takes place within and outside the plots.However, Finnegan does not include the element of stimulus. In this case, the mainfunction of the CS is as amusement. Its meaning is to stimulate social solidarity in allaspects of Sasaknese community life.
The Verb “Memukul’ in the Balinese Language Dialect Spoken at Taro Village: A Natural Semantic Metalanguage Study Made Dian Saputra; I Nyoman Suarka; I Wayan Cika
e-Journal of Linguistics Vol 14 No 1 (2020): e-jl January
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (760.3 KB) | DOI: 10.24843/e-jl.2020.v14.i01.p03

Abstract

The people living at Taro village speak the Balinese language as their daily language. As the speakers of the Balinese languge, they never neglect the speech order, as can be seen from the fact that they still use the Balinese words, which in the modern era, have been neglected, resulting in the fact that many people are not familiar with a number of words, especially those which belong to the verb word class, one of which is the verb “ngetok” (hit). The Balinese language has a great number of verbs; however, the current study only analyses the verb “ngetok’ (hit) using the theory of Natural Metalanguage Semantics (NMS). The verb “ngetok” (hit) has a great number of equivalents; they are ngebug, ngedig, nigtig, ngupek, megambel, mugpugin, mukpukin, ngukul, nungting, ngempug, nyakcak, noktok, ngeplokin, nebuk, ngaasin, nepung, ngintuk, ngalocok, namplak, nyemés, nempéléng, nyagur, nyepédin, nglamet, ngamplongin, ngamplengin, ngemplangin, nglentangin, ngaplekin, nyontok, nylimed and mentil. One verb is different from another, although they are all used to express the action of hitting something or someone, depending on what tool is used to hit and the subject and object which are hit. The verb “ngetok” (hit) in the Balinese language has two different meanings; namely doing something and taking place, which can be explained using the explication technique in which it is described that “X does something on Y, causing something either bad or good to occur to Y”. Such differences in meaning can be obtained through the analysis of the original meaning using the non-compositional polysemy
THE STRUCTURE OF TULEMBANG AND TUPAKBIRING MANTRAS IN THE LIFE OF MAKASSAR ETHNIC Muhammad Syafri Badaruddin; I Wayan Cika; Tadjudin Maknun; I Nyoman Suarka
e-Journal of Linguistics 2016: Vol 10. No. 1 January
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

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Abstract

Mantra is the oldest form of literature in Indonesia which still survives until now and is still used by traditional communities. Makassar Traditional Societies use mantra according to their needs. Mantra for planting rice or mantra for cultivation is called Tulembang mantra, while mantra for fishing is called Tupakbiring mantra. The mantra is in the form of expressions or words can bring magic power. The power aims to provide strength for human in performing various activities. The forms can be praises to something to be considered as sacred such as gods, spirits, animals, or God usually uttered by sanro (shaman) and pinati (one who has magic power to perform something). The mantra tends to be free in terms of syllables, lines, and rhymes. The unity of the mantra text is more dominated by irregular rhyme and alteration. The functions are theological, religious, social, and cultural as a means of communication with the creator and as a respect to human beings. The meaning contains acknowledgement, hope, sanctity of self and heart, serenity, and inner satisfaction.
Co-Authors A.A. Ketut Agung Cahyawan W A.A. Ngurah Anom Kembara, A.A. Ngurah Anom A.A. Ngurah Anom Kumbara Anak Agung Bagus Wirawan Anak Agung Ngurah Anom Kumbara Andi Widian Prabowo Anwar, Khairil Dewa Gede Bambang Erawan Dewa Sangkaryang Dian Saputra, I Made Ervanta Restulita Liber Sigai, Ervanta Restulita Eva Krisna Gitananda, W.A. Sindhu I Gusti Agung Ayu Made Dianti Putri I Gusti Ayu Agung Mas Triadnyani I Gusti Ketut Gde Arsana, I Gusti Ketut Gde I Ketut Jirnaya I Ketut Setiawan I Ketut Sudewa I Made Dian Saputra I Made Madia I Made Nurjaya Putra Mahardika I Made Soreyana I Made Soreyana I Made Suarta I Made Suastika I Nengah Sudipa I Nyoman Kuta Ratna I Nyoman Kutha Ratna I Nyoman Suarka I Nyoman Suwija I Nyoman Weda I Nyoman Weda Kesuma I Nyoman Weda Kusuma I Wayan Gede Wisnu I Wayan Suardiana I Wayan Suharta I Wayan Suharta, I Wayan I Wayan Suka Yasa I Wayan Teguh Ida Bagus Kade Gunayasa Ida Bagus Made Wisnu Parta Ida Bagus Rai Putra Juliana, I Wayan Lilik Rita Lindayani Made Dian Saputra Made Paramasuta Wijaya Maizufri - Maliudin, Maliudin Mohammad Hasbi Romadhoni Muhammad Badaruddin Ni Luh Nyoman Kebayantini Ni Made Meri Apridayanti Ni Made Wiasti Ni Nyoman Kartini Ni Wayan Arnati Ni Wayan Rita Sutiari Nyoman Kuta Ratna Nyoman Kutha Ratna Prof. Dr. Nyoman Kutha Ratna S.U. Putra, Ansor Putu Sukarja Sukarja, Putu Sukarja Samsul Samsul Sigai, Ervanta Restulita Liber Sri Martini Suka Yasa, I Wayan Syahrun Syahrun Syahrun, Syahrun Syahrun Syamsul Arifin Tadjudin Maknun TATI NURHAYATI Tjokorda Rai Sudharta Yusuf, La Ode