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<![CDATA[PERGESERAN MITOLOGI PESANTREN DI ERA MODERN ]]>
<![CDATA[Junaidi, Arif]]>
<![CDATA[ WALISONGO Vol 19, No 2 (2011): Walisongo, Pendidikan ]]>
Publisher : <![CDATA[IAIN Walisongo Semarang ]]>
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<![CDATA[Abstract  The main problem of this study is how to root, pattern and function of beliefs about karamah of the kiai pesantren Futuhiyyah Mranggen Demak and the extent of the shift of mythology that occurred at the school in line with the social changes in the modern era. This study is a field research. The paradigm used in this study is a qualitative paradigm, because the study intended to find meaning. The findings of this study is that the lives of the kiai in the pesantren Futuhiyyah also widely covered by the myths of âkiaishipâ, it is a belief that the kiai has karamah.  *** Masalah utama dari kajian ini adalah mencari akar, pola, dan fungsi keyakinan mengenai karamah kiai pesantren Futuhiyah Mranggen Demak dan sejauh mana pergeseran mitologi yang terjadi di kalangan masyarakat sejalan dengan perubahan masyarakat di era modern ini. Kajian ini merupakan kajian lapangan. Paradigma yang digunakan adalah kualitatif karena kajian ini berupaya menemukan makna. Adapun penemuan dari kajian ini adalah bahwa kehidupan kiai di pesantren Futuhiyah Mranggen juga diliputi mitos kiai, dalam makna keyakinan bahwa kiai memiliki karamah. Keywords: mitologi, pesantren, karamah, kiai]]>
<![CDATA[JANENGAN SEBAGAI SENI TRADISIONAL ISLAM-JAWA ]]>
<![CDATA[Junaidi, dkk., Akhmad Arif]]>
<![CDATA[ WALISONGO Vol 21, No 2 (2013): Walisongo, "agama lokal" ]]>
Publisher : <![CDATA[IAIN Walisongo Semarang ]]>
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<![CDATA[AbstractThis paper is based on the cultural reality of Javanese Muslim society especially inIslamic Javanese traditional music. The cultural expression of Islamic-Javanese musicis very diverse and reflecting the diversity of the âfaceâ of Islam that has been adaptedto the local culture. Janenganâs Islamic Javanese traditional music is an expressionfrom three different cultural music traditions: Javanese music tradition, MiddleEastern music traditions (Arabic), and currently has been developed with acombination of Western music such as pop. The combination of three differentmusical traditions creates a unique creativity in Javanese music character. Thecharacter also encourages the values covering musical values, cultural values, andreligious values. Thematically, the Janenganâs lyrics contain a variety of Islamicteaching such as monotheism, shariâah and sufism.***Tulisan ini dilatarbelakangi satu realitas budaya yang dihasilkan dari kehidupanmasyarakat Muslim Jawa khususnya seni musik tradisional Islam-Jawa. Ekspresikebudayaan Islam-Jawa dalam seni musik ini sangat beragam dan mencerminkankeberagaman âwajahâ Islam yang telah beradaptasi dengan budaya lokal. Musiktradisional Islam-Jawa Janengan merupakan perwujudan dari perpaduan tigaunsur tradisi musik, yakni tradisi musik Jawa, tradisi musik Islam Timur Tengah(Arab) dan kini telah dikembangkan dengan kombinasi musik Barat seperti pop.Perpaduan ketiga unsur tradisi musik yang berbeda ini membentuk suatu hasilkreativitas yang unik bercirikan musik Jawa. Musik tradisional Islam-Jawa ini jugamelahirkan nilai-nilai yang meliputi nilai-nilai musikal, nilai-nilai kultural, dannilai-nilai religius. Secara tematik syair-syair Janengan berisi berbagai ajaranseperti akidah (tauhid), syariâat dan tasawuf.Keywords: Janengan, budaya lokal, tradisi Islam-Jawa]]>
<![CDATA[THE SHADOW OF ISLAMIC ORTODOXY AND SYNCRETISM IN CONTEMPORARY INDONESIAN POLITICS ]]>
<![CDATA[Umam, Ahmad Khoirul]]>;
<![CDATA[Junaidi, Akhmad Arif]]>
<![CDATA[ Al-Ulum Vol 11, No 2 (2011): Al-Ulum ]]>
Publisher : <![CDATA[Institut Agama Islam Negeri (IAIN) Sultan Amai Gorontalo ]]>
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<![CDATA[Pemetaan a filiasi politik masyarakat adalah penting untuk memahami arah dan karakter kekuasaan di masa mendatang. Orientasi politik massa di Indonesia secara general tidak jauh berbeda dengan apa yang digariskan oleh Clifford Geertz dalam karya master piece-nya bertajuk The Religion of Java. Konsep trikotomi yang terdiri atas Santri, Abangan dan Priyayi itu, selama lima dekade terakhir ini telah menjadi karena pembantaian tesis Geertz. Beragam titik lemah dan kekeliruan konseptual karya ini menjadi pintu masuk untuk kembali merekonstruksikan konsep orientasi politik masyarakat Indonesia. Kendati demikian, karya Geertz ini patut diapresiasi sebagai pendekatan awal yang brilian dalam memahami perilaku politik bangsa Indonesia. Dengan pendekatan kritis, napak tilas inteletual Geertz ini akan kembalidimanfaatkan untuk memetakan arah afiliasi politik masyarakat Indonesia kontemporer.---------------------The mapping of political affiliation is important to capture the power direction and its characteristics in the future. Generally, the mass political orientation in Indonesia is not much different than what was outlined by Clifford Geertz in his master piece entitled The Religion of Java. The concept of trikotomi consisting of the Santri, Abangan, and Priyayi, which over the past five decades has been the fundamentally critiqued by various parties. Numerous weak points and fallacy of conceptual framwork then become the entrance to reconceptualize the Indonesian people political orientation. However, the work of Geertzs initial approach should be appreciated as a brilliant in understanding the Indonesian political behavior. With the critical approaches, the Geertzs approaches will again be utilized to map the direction of community in the contemporary Indonesian political orientation.]]>
<![CDATA[DINAMIKA PENAFSIRAN AL-QURAN DI SURAKARTA: 1900-1930 ]]>
<![CDATA[Junaidi, Akhmad Arif]]>
<![CDATA[ Profetika Vol. 14, No. 1, Juni 2013 ]]>
Publisher : <![CDATA[Muhammadiyah University Press ]]>
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<![CDATA[The interpretation dynamics of Al-Quran was so intensive in Surakartawithin 1900-1930. By comparative analysis this paper studies and finds three works oftafsir (interpretation, exclamation passage of al-Quâran by supplying additionalinformation) that were published in Surakarta but they had different concern. Tafsîral-Quran al-âAâîm analyzed Islamic orthodox theme as the central issue in itsinterpretation. This can be understood because the work was written by a Great SurakartaPalace village leader who splashed around Islamic laws. While Tafsir Surat Wal-Asridiscussed the relation between Islam and Christianity as the central issue. The writer ofthis book was worried about the activity of the evangelism in the Surakarta Palaceterritory. Tafsir Qurâan Djawen stressed on the importance of the fraternity as thecentral issue in its interpretation. The book talked about the disunity phenomena amongMuslim community because of the difference in the furuâiyah cases.Key Words: interpretation dynamics, al-Quran, SurakartaDinamika penafsiran al-Quran begitu intens di Surakarta dalam rentangwaktu antara 1900-1930. Dengan analisis perbandingan makalah ini mengkaji danmenemukan tiga karya tafsir yang sama-sama diproduksi Surakarta memiliki concernyang berbeda. Tafsîr al-Quran al-âAâîm lebih banyak menjadikan tema ortodoksi Islamsebagai isu sentral dari penafsiran-penafsirannya.Hal ini tentu bisa dimengerti karenakarya tafsir tersebut ditulis oleh seorang pengulu agengkraton yang banyak bergelutdengan hukum Islam.Sedangkan Tafsîr Surat Wal Acri lebih banyak menjadikan temahubungan Islam-Kristen sebagai isu sentralnya.Penulis kitab ini tampak dirisaukanoleh kegiatan-kegiatan zending yang semakin meraja-lela di kawasan KasunananSurakarta. Kitab Tafsîr Qurâan Djawen menjadikan pentingnya ukhuwwah Islamiyyahsebagai isu utama penafsiran-penafsirannya. Dalam kitab ini tampak banyak diuaraikanfenomena perpecahan di kalangan umat Islam dikarenakan perbedaan-perbedaan dalammasalah-masalah furuâiyyah.Kata Kunci: Dinamika Penafsiran, Al-Quran, Surakarta]]>
<![CDATA[TAFSĪR AL-QURâÄN AL-âAáºÄªM: INTERTEKS DAN ORTODOKSI DALAM PENAFSIRAN RADEN PENGULU TAFSIR ANOM V ]]>
<![CDATA[Junaidi, Arif]]>
<![CDATA[ Wahana Akademika: Jurnal Studi Islam dan Sosial Vol 15, No 1 (2013): Wahana Akademika ]]>
Publisher : <![CDATA[Kopertais Wilayah X Jawa Tengah ]]>
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DOI: 10.21580/wa.v15i1.526
<![CDATA[AbstractThis paper is aimed at answering two basic questions; how does the Qurâanic interpretation of Raden Pengulu Tafsir Anom as a text relate to the previous texts and how the trend of orthodoxy representing within the text. This paper has come into two pivotal findings; firstly, the work of interpretation has created meanings by referring to other texts or we call it an inter-text approach, both written text or unwritten text created by cultural and social settings surrounding the writer. However, the work of interpretation does not fully use all production models of meaning namely permutations, opposition and transformation. The models which are used just permutation and transformation, the way of producing meaning by changing the sentence structure to become various explanations which are easier to understand. The choice is only on these two models implicating to a very limited meaning production. Secondly, the trend of Islamic orthodoxy represented by the Tafsir Anomâs work of interpretation which can be seen from two different levels. Firstly, the level of thought as can be seen in his interpretations, especially the theological thinking. In terms of God as the creator and human as His creature, Tafsir Anom explains that God obliges and requires His creature to worship to Him without involving any intermediary subjects in any form. Secondly, level of reference as the source of his interpretation sources. Referring to the Islamic interpretations had been done by posititioning them as a system of rule. Positioning the referred text or hipogram text as the guidance has particular logical consequences, i.e. logical consequences of orthodoxy, since the referred texts are orthodox texts.Key words: Intertext, Orthodoxy, Tafsir]]>
<![CDATA[PERGESERAN MITOLOGI PESANTREN DI ERA MODERN ]]>
<![CDATA[Junaidi, Arif]]>
<![CDATA[ Walisongo: Jurnal Penelitian Sosial Keagamaan Vol 19, No 2 (2011): Pendidikan Islam ]]>
Publisher : <![CDATA[LP2M - Universitas Islam Negeri (UIN) Walisongo ]]>
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DOI: 10.21580/ws.19.2.181
<![CDATA[The main problem of this study is how to root, pattern and function of beliefs about karamah of the kiai pesantren Futuhiyyah Mranggen Demak and the extent of the shift of mythology that occurred at the school in line with the social changes in the modern era. This study is a field research. The paradigm used in this study is a qualitative paradigm, because the study intended to find meaning. The findings of this study is that the lives of the kiai in the pesantren Futuhiyyah also widely covered by the myths of “kiaiship”, it is a belief that the kiai has karamah.***Masalah utama dari kajian ini adalah mencari akar, pola, dan fungsi keyakinan mengenai karamah kiai pesantren Futuhiyah Mranggen Demak dan sejauh mana pergeseran mitologi yang terjadi di kalangan masyarakat sejalan dengan perubahan masyarakat di era modern ini. Kajian ini merupakan kajian lapangan. Paradigma yang digunakan adalah kualitatif karena kajian ini berupaya menemukan makna. Adapun penemuan dari kajian ini adalah bahwa kehidupan kiai di pesantren Futuhiyah Mranggen juga diliputi mitos kiai, dalam makna keyakinan bahwa kiai memiliki karamah.]]>
<![CDATA[JANENGAN SEBAGAI SENI TRADISIONAL ISLAM-JAWA ]]>
<![CDATA[Junaidi, Akhmad Arif]]>
<![CDATA[ Walisongo: Jurnal Penelitian Sosial Keagamaan Vol 21, No 2 (2013): Agama Lokal ]]>
Publisher : <![CDATA[LP2M - Universitas Islam Negeri (UIN) Walisongo ]]>
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DOI: 10.21580/ws.21.2.254
<![CDATA[This paper is based on the cultural reality of Javanese Muslim society especially in Islamic Javanese traditional music. The cultural expression of Islamic-Javanese music is very diverse and reflecting the diversity of the “face” of Islam that has been adapted to the local culture. Janengan’s Islamic Javanese traditional music is an expression from three different cultural music traditions: Javanese music tradition, Middle Eastern music traditions (Arabic), and currently has been developed with a combination of Western music such as pop. The combination of three different musical traditions creates a unique creativity in Javanese music character. The character also encourages the values covering musical values, cultural values, and religious values. Thematically, the Janengan’s lyrics contain a variety of Islamic teaching such as monotheism, shari’ah and sufism.***Tulisan ini dilatarbelakangi satu realitas budaya yang dihasilkan dari kehidupan masyarakat Muslim Jawa khususnya seni musik tradisional Islam-Jawa. Ekspresi kebudayaan Islam-Jawa dalam seni musik ini sangat beragam dan mencerminkan keberagaman “wajah” Islam yang telah beradaptasi dengan budaya lokal. Musik tradisional Islam-Jawa Janengan merupakan perwujudan dari perpaduan tiga unsur tradisi musik, yakni tradisi musik Jawa, tradisi musik Islam Timur Tengah (Arab) dan kini telah dikembangkan dengan kombinasi musik Barat seperti pop. Perpaduan ketiga unsur tradisi musik yang berbeda ini membentuk suatu hasil kreativitas yang unik bercirikan musik Jawa. Musik tradisional Islam-Jawa ini juga melahirkan nilai-nilai yang meliputi nilai-nilai musikal, nilai-nilai kultural, dan nilai-nilai religius. Secara tematik syair-syair Janengan berisi berbagai ajaran seperti akidah (tauhid), syari’at dan tasawuf.]]>
<![CDATA[DINAMIKA PENAFSIRAN AL-QURAN DI SURAKARTA: 1900-1930 ]]>
<![CDATA[Junaidi, Akhmad Arif]]>
<![CDATA[ Profetika Jurnal Studi Islam Vol. 14, No. 1, Juni 2013 ]]>
Publisher : <![CDATA[Universitas Muhammadiyah Surakarta ]]>
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DOI: 10.23917/profetika.v14i1.2007
<![CDATA[The interpretation dynamics of Al-Quran was so intensive in Surakartawithin 1900-1930. By comparative analysis this paper studies and finds three works oftafsir (interpretation, exclamation passage of al-Qu?ran by supplying additionalinformation) that were published in Surakarta but they had different concern. Tafsîral-Quran al-?A?îm analyzed Islamic orthodox theme as the central issue in itsinterpretation. This can be understood because the work was written by a Great SurakartaPalace village leader who splashed around Islamic laws. While Tafsir Surat Wal-Asridiscussed the relation between Islam and Christianity as the central issue. The writer ofthis book was worried about the activity of the evangelism in the Surakarta Palaceterritory. Tafsir Qur?an Djawen stressed on the importance of the fraternity as thecentral issue in its interpretation. The book talked about the disunity phenomena amongMuslim community because of the difference in the furu?iyah cases.Key Words: interpretation dynamics, al-Quran, SurakartaDinamika penafsiran al-Quran begitu intens di Surakarta dalam rentangwaktu antara 1900-1930. Dengan analisis perbandingan makalah ini mengkaji danmenemukan tiga karya tafsir yang sama-sama diproduksi Surakarta memiliki concernyang berbeda. Tafsîr al-Quran al-?A?îm lebih banyak menjadikan tema ortodoksi Islamsebagai isu sentral dari penafsiran-penafsirannya.Hal ini tentu bisa dimengerti karenakarya tafsir tersebut ditulis oleh seorang pengulu agengkraton yang banyak bergelutdengan hukum Islam.Sedangkan Tafsîr Surat Wal Acri lebih banyak menjadikan temahubungan Islam-Kristen sebagai isu sentralnya.Penulis kitab ini tampak dirisaukanoleh kegiatan-kegiatan zending yang semakin meraja-lela di kawasan KasunananSurakarta. Kitab Tafsîr Qur?an Djawen menjadikan pentingnya ukhuwwah Islamiyyahsebagai isu utama penafsiran-penafsirannya. Dalam kitab ini tampak banyak diuaraikanfenomena perpecahan di kalangan umat Islam dikarenakan perbedaan-perbedaan dalammasalah-masalah furu?iyyah.Kata Kunci: Dinamika Penafsiran, Al-Quran, Surakarta]]>
<![CDATA[TAFSĪR AL-QUR’ĀN AL-‘AẒĪM: INTERTEKS DAN ORTODOKSI DALAM PENAFSIRAN RADEN PENGULU TAFSIR ANOM V ]]>
<![CDATA[Junaidi, Arif]]>
<![CDATA[ Wahana Akademika: Jurnal Studi Islam dan Sosial Vol 15, No 1 (2013): Wahana Akademika ]]>
Publisher : <![CDATA[Kopertais Wilayah X Jawa Tengah ]]>
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DOI: 10.21580/wa.v15i1.526
<![CDATA[AbstractThis paper is aimed at answering two basic questions; how does the Qur’anic interpretation of Raden Pengulu Tafsir Anom as a text relate to the previous texts and how the trend of orthodoxy representing within the text. This paper has come into two pivotal findings; firstly, the work of interpretation has created meanings by referring to other texts or we call it an inter-text approach, both written text or unwritten text created by cultural and social settings surrounding the writer. However, the work of interpretation does not fully use all production models of meaning namely permutations, opposition and transformation. The models which are used just permutation and transformation, the way of producing meaning by changing the sentence structure to become various explanations which are easier to understand. The choice is only on these two models implicating to a very limited meaning production. Secondly, the trend of Islamic orthodoxy represented by the Tafsir Anom’s work of interpretation which can be seen from two different levels. Firstly, the level of thought as can be seen in his interpretations, especially the theological thinking. In terms of God as the creator and human as His creature, Tafsir Anom explains that God obliges and requires His creature to worship to Him without involving any intermediary subjects in any form. Secondly, level of reference as the source of his interpretation sources. Referring to the Islamic interpretations had been done by posititioning them as a system of rule. Positioning the referred text or hipogram text as the guidance has particular logical consequences, i.e. logical consequences of orthodoxy, since the referred texts are orthodox texts.Key words: Intertext, Orthodoxy, Tafsir]]>
<![CDATA[Implementation Entropy And Electre II Method For Determining The Priority of Rebuilding a Damaged Bridge of Flood Disaster (Case Study In Trenggalek) ]]>
<![CDATA[Junaidi, Arif]]>;
<![CDATA[Irawan, Mohammad Isa]]>;
<![CDATA[Mukhlash, Imam]]>
<![CDATA[ Majalah Ilmiah Matematika dan Statistika Vol 16 No 2 (2016): Majalah Ilmiah Matematika dan Statistika ]]>
Publisher : <![CDATA[Jurusan Matematika FMIPA Universitas Jember ]]>
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DOI: 10.19184/mims.v16i2.23740
<![CDATA[ELECTRE II method is widely acknowledged to be used to analyze policies involving qualitative and quantitative criteria. Ranking procedure on the ELECTRE method was preceded by the forming of a directed graph as a representation of outranking relations. One of the weaknesses of ranking procedure based on the level / common procedure is if there were cycles in the graph that formed, the process becomes complicated. In this paper, ranking based on total domination by exploiting the transitive closures matrix formed that is from the representation of outranking relations in adjacency matrix, then compared with the ranking based on the level / general procedure. To determine the coefficient of weight for each criterion by using the entropy method. As an application, both ranking procedure used to determine the priority for rebuilding a damaged bridge of flood disaster in Trenggalek. Comparison of two procedures and the sensitivity analysis are done by changing some of threshold corcondance and discordance.]]>
