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All Journal E-Jurnal Kajian Budaya IPTEKMA HUMANIS E-Journal of Linguistics E-Journal Of Cultural Studies Linguistika Jurnal Kajian Bali ATAVISME JURNAL ILMIAH KAJIAN SASTRA Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies Proceeding of International Conference on Art, Language, and Culture Jurnal Ilmiah Sinus International Journal for Educational and Vocational Studies Pangkaja: Jurnal Agama Hindu Budapest International Research and Critics Institute-Journal (BIRCI-Journal): Humanities and Social Sciences Jurnal Penelitian Agama Hindu International Journal of Social Science Soshum: Jurnal Sosial dan Humaniora International Journal of Education and Literature (IJEL) Suluh Pendidikan: Jurnal Ilmu-ilmu Pendidikan Sphatika: Jurnal Teologi Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra International Journal of Multidisciplinary Sciences International Review of Humanities Studies Subasita: Jurnal Pendidikan, Bahasa, Aksara dan Sastra Daerah Purbawidya: Jurnal Penelitian dan Pengembangan Arkeologi Open Access DRIVERset

I Nyoman Suarka

Universitas Udayana, Denpasar, Indonesia

Author-ID : 386632

Religion Agriculture, Biological Sciences & Forestry Arts Humanities Biochemistry, Genetics & Molecular Biology Chemistry Civil Engineering, Building, Construction & Architecture Computer Science & IT Control & Systems Engineering Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Health Professions Immunology & microbiology Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Medicine & Pharmacology Public Health Social Sciences Other

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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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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.

Folklore Of Sang Sandiaka Based On The Function Theory, Morphological Theory And Mythological Theory At Depeha Village, Kubu Tambahan District Ni Nyoman Seri Astini; I Nyoman Weda Kusuma; I Nyoman Suarka; I Wayan Suardiana
e-Journal of Linguistics Vol 13 No 1 (2019): e-jl-January
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

This study aims to find the functions and ideologies of Depeha Village folklore entitled Sang Sandiaka. The focus of the problems to be studied in this study consists of three things; they are: (1) to find out the narrative structure of the folklore of Sang Sandiaka, (2) to find out the functions of the story, and (3) to find out the ideologies in it. The type of this study is qualitative. The theories used in this study are the morphological theory , the function theory and the mythological theory. The data were collected through documentation and interview. Thus the analysis started with a review of Sang Sandiaka's story, then the narrative structure and the function as well as the meaning of the story, and the ideologies contained in it were presented. The results of this study showed that: (1) the story of Sang Sandiaka functions to remind the past, as non-formal education of the community and as the entertainment for the Depeha Village community, and (2) the ideologies which the folklore contain are the ideology of leadership and the ideology of social equality.

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

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

TRI HITA KARANA AND HYDROLIC CYCLE BASED ON VEDA A.A. Kade Sri Yudari; I Nyoman Suarka; I Nyoman Kutha Ratna; I Nyoman Weda Kusuma
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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Hydrologic cycle refers to the route of water cycle or the journey made by water on the earth’s surface. Water can change in form, and flows in various places before finally it gets back to the biggest source, that is, the ocean. Approximately 71% of the earth is covered with the ocean. Talking about the hydrologic cycle cannot be separated from talking about the sun and the ocean, that is, the impact of the rise and fall of the tides. In Veda, the traditional geography, in general, and in Tatwa and Purana, in particular, it is stated that the earth is divided into two parts; they are the main land and the ocean. The question is how deep the Hindu theology and philosophy about the hydrologic cycle is. The water on the earth’s surface evaporates, resulting from the hot ray radiated by the sun. In Reg. Veda Samhita.I.164.51, it is strongly stated that “the water on the earth’s surface rises due to evaporation”. After evaporation, water changes into water drops or fine dews referred to as clouds. There are many types and forms of clouds which may lead to storms; however, some have no impact. When such clouds are already formed, they are brought to every area of the earth’s surface. When they reach the saturation point, a natural phenomenon appears which is referred to as rain. The falling water makes the earth wet, fills up dams, flows along rivers, and fertilize every type of life on earth. Rain measures how the hydrologic cycle takes place. Therefore, it should be recognized that it is important to maintain the hydrologic cycle, which determines that the earth’s fertility and prosperity will not be disturbed. The Hindu teaching is rich in such a philosophy referred to as Tri Hita Karana. Even in very religious ritual water is always mainly used for purification. The sources of water such as wells, rivers, lakes, showers, and oceans are made to be physically and spiritually sacred. The concepts of balance and harmony are easily found in rituals and the philosophy of Veda, the holy book. Almost all the Hindu rituals and philosophies refer to the balanced and harmonious nature. The Hindu philosophy that it is important to protect water for all the creatures on the earth’s surface can guarantee the life sustainability. The life of every creature cannot be separated from water. If the hydrologic cycle which supports every life on earth is damaged, then the human life on earth will be damaged as well.

SHAPE OF FEMININITY IN THE TEXT OF GEGURITAN (PHILOSOPICAL VERSE) IN BALI: ANALYSIS OF FEMINISM Ni Nyoman Karmini; Nyoman Kutha Ratna; I Nyoman Weda Kusuma; I Nyoman Suarka
e-Journal of Linguistics Vol. 3. 1 Januari 2009 No. 1
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

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The object of this study is Balinese traditional literature which is the form of geguritan(philosophical verse). The reason why such texts are used as the object of the study is that theycontain very complex and interesting narrations about feminism. The objectives of this studyare to find out the formal and narrative structure of the texts and to describe the shape offemininity in the texts and its relevance to the lives of Balinese women who are Hindufollowers in the society. The objectives are all at once the answers to the problems of the study.The theory applied is that of feminism which emphasizes the concept ofRadical-Cultural Feminism. This study is a qualitative one of which the data were collected bydocumentation method, that is, by the techniques of note taking, observation and interview. Thedata were analyzed using the formal method in accordance with literature studies.There were nine geguritan (philosophical verses) which were used as the object of thestudy. From the formal structural analysis, the pupuh (strophe) used, its function and literarystyle could be identified. From the content, religious and amusement functions could beidentified. From the narrative structural analysis, it could be identified that the plot waschronological and sorot balik (backward directed); the characters and characterization weredescribed to express extraordinary ability, which was based on Hinduism, while the theme wasdescribed to express the application of panca crada (the five principles in Hinduism). Therewere seven findings as far as the analysis of the text is concerned: they are: (1) the educatedwomen could determine their attitudes, make decisions, show prestige and maintain theirdignity; (2) the women in the texts had extraordinary power. This means that the women werenot weak. Therefore, the stereotype that women were weak was neglected; (3) the educatedwomen who used Hinduism as the reference could become the men’s power; (4) the womenwho could become the men’s power could be the centre or the subject of the events undergoneduring their lives; (5) the women’s ability was similar to the men’s and they could show theirability; (6) the shape of femininity in the texts was in accordance with wadhu tatwa ( a type ofphilosophy ) and the struggle of Radical Cultural Feminism; (7) it turned out that the theory offeminism could be used for analyzing the traditional literature.

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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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.

Rakawi Language in the Past and Present Time A.A. Gde Alit Geria Alit Geria; I Nyoman Weda Kusuma Weda Kusuma; I Made Suastika Suastika; I Nyoman Suarka Suarka
e-Journal of Linguistics Vol.7. Januari 2013 No. 1
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

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Jawa Kuna is one of the oldest documentary languages that has the richest materials as well as fine and noble national cultural values. Jawa Kuna is the key to revealing the history of the cultural life in Indonesia in the past. Therefore, studying Jawa Kuna is like digging up the “hidden pearl” because the scintillating beam or supreme (adiluhung) teachings implied in it can be used as guidance (s?suluh) in everyday life. A very strong desire of the experts of Jawa Kuna to discover the history and the richness of culture in the ancient time has succeeded in changing the image of Jawa Kuna from being “a distant jungle, scary and horrible” into “a virgin forest that is very close, friendly and attractive”. In Bali, the influence of Jawa Kuna has existed since the 10th century until the globalization era nowadays. Jawa Kuna has been greatly cherished by the rakawi in creating a piece of literature (parwa, kakawin) until the beginning of the 21st century. As a media in exploring the Hindu and Buddhist literature, Jawa Kuna language is preserved not merely in the sense that it is read, sung and discussed, but it is also shown with the creation of new Kakawin using Jawa Kuna language by Balinese Rakawi (authors) namely Made Degung, I Wayan Mandra, and I Wayan Pamit. Those three Balinese rakawi have been able to comprehend one similar problem (Siwa-Buddha) by using the same hypogram as well (Siwagama), and then it is packed in their own style into a very beautiful piece of kakawin (langö).

Hegemonic Ideology in Buruan Novel: A Post-colonial Study Ni Nyoman Kartini; I Nyoman Suarka; I Wayan Cika; Ida Bagus Rai Putra
e-Journal of Linguistics Vol 15 No 2 (2021): e-jl July
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.2021.v15.i02.p05

This study aims at finding the ideology of hegemony in the novel Buruan based on post-colonialism studies. There are three elements of post-colonialism, namely hegemony, mimicry and hybridity. In this study, it focuses on the hegemony element because it reflects the hegemonic party and the hegemonic party. The method used in this research is the interview method and the literature method through the recording technique and note-taking technique. The results of the analysis were carried out by analytic descriptive with interpretation method and hermeneutic approach. The results showed that the perpetrators of hegemony in the novel Buruan were Japanese soldiers as invaders of the Indonesian people and skipper of the Misbah boat. Both of these actors treat women as oppressed parties from sexual behaviour and violence. This resulted in a hegemonic ideology that women as a subordinate group and victims of oppression from the attitude of male domination as a powerful group.

Wacana Puja Bhakti Dalam Kakawin Raja Patni Mokta I Nyoman Suwana; I Nyoman Suarka; Ida Bagus Rai Putra
Linguistika: Buletin Ilmiah Program Magister Linguistik Universitas Udayana Vol 23 (2016): March 2016
Publisher : Program Magister Linguistik Universitas Udayana

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This study analyzes the tribute discourse in Kakawin Raja Patni Mokta. The composition of this kakawin is dominated by the theme of tribute for first lady, Tien Soeharto. The focus of this research are to reveal the form of puja bhakti (tribute), its function, and its meaning in Kakawin Raja Patni Mokta. Semiotic theory from Pierce is used to intreprete the text, while sociological theory of literature by Wellek and Werren is used to analyze the function of tribute discourse in Kakawin Raja Patni Mokta. Puja Bhakti in Kakawin Raja Patni Mokta can be considered as a special offering to the nation

MAKNA PUJASMARA DALAM KAKAWIN HANYANG NIRARTHA Ida Ayu Istri Agung Dharmayanti; I Nyoman Suarka; Ida Bagus Rai putra
Linguistika: Buletin Ilmiah Program Magister Linguistik Universitas Udayana Vol 26 No 1 (2019): Maret
Publisher : Program Magister Linguistik Universitas Udayana

Semesta dan manusia memiliki hubungan yang saling berkaitan. Jika antara bhuwana agung dan bhuwana alit tidak seimbang, akan terjadi bencana alam dan kebobrokan mental manusia. Dalam teks Kakawin Hañang Nirartha dituliskan beberapa bait metrum yang menyuratkan keindahan alam sebagai refleksi dari bhuwana agung dan keelokan wanita sebagai refleksi dari bhuwana alit. Pujasmara merupakan sebuah wacana pemujaan yang dipersembahkan kepada Bhatara Smara dan Bhatari Ratih dalam manifestasinya sebagai dewa cinta. Cinta yang dimaksud di sini tidak hanya sekadar cinta terhadap lawan jenis, tetapi juga dapat mencintai diri sendiri dan menyadari keberadaan alam semesta sebagai tempat berinteraksi dengan makhluk hidup lainnya. Pada penelitian ini analisis difokuskan pada makna pujasmara yang bertujuan untuk mengetahui makna wacana pujasmara dalam Kakawin Hañang Nirartha. Teori yang digunakan dalam penelitian ini adalah teori semiotika Roland Barthes mengenai makna pada tataran kedua. Rancangan penelitian ini adalah dengan melakukan persiapan, tugas lapangan, dan tahap analisis. Lokasi penelitian, yaitu di Pusat Kajian Lontar Universitas Udayana. Jenis data penelitian adalah data kualitatif. Sumber data penelitian, yaitu naskah berbentuk lontar yang berada di Pusat Kajian Lontar Universitas. Instrumen penelitian ini adalah kamus sebagai alat bantu menerjemahkan teks yang berbahasa Jawa Kuno ke bahasa sasaran. Metode dan teknik pengumpulan data menggunakan studi kepustakaan. Metode dan teknik analisis data menggunakan metode kualitatif dengan teknik deskriptif analitik. Metode dan teknik penyajian hasil analisis data menggunakan metode formal dan informal. Hasil penelitian terhadap makna Pujasmara, yakni cinta kasih dan cara untuk mengendalikan pikiran, pernapasan (pranayama) menuju kesadaran tertinggi. Ketika sudah mampu menyadari siapa dirinya, berserah diri, dan mulai memusatkan pikiran pada satu tujuan (moksa) barulah manusia dapat menunggal dengan Hyang Pencipta.

Co-Authors A.A. Gde Alit Geria Alit Geria A.A. Gede Bawa A.A. Kade Sri Yudari A.A. Ketut Agung Cahyawan W A.A. Ngurah Anom Kumbara AA. Gede Bawa Admin OJSIkip Anak Agung Bagus Wirawan Anak Agung Ngurah Anom Kumbara Anak Agung Raka Asmariani Ardjani, Ni Luh Artayani, Ida Ayu Gede Bagus Wahyu Sudhyatmika Bawa, Anak Agung Gde Cerita, I Nyoman Desak Putu Andi Suarmini Dewa Gede Bambang Erawan Diah Savitri, Putu Dian Saputra, I Made Dr Pudentia Dra Dafirah Duija, I Nengah Dwi Mahendra Putra Erna Supriathi, Ni Kadek Farhaeni, Mutria Fauzan Al Jundi Fransiscus Bustan Gde Artawan Gede Indrawan Gede Yoga Kharisma Pradana George Mentansan Gitananda, W.A. Sindhu Gusti Ayu Novaeni Hamiruddin Udu I Gde Parimartha I Gede Arya Sugiartha, I Gede Arya I Gede Mudana I Gede Oeinada I Gusti Ayu Andani Pertiwi I Gusti Ayu Sri Widiantari I Gusti Ngurah Seramasara, I Gusti Ngurah I Gusti Ngurah Sudiana I Gusti Ngurah Sudiana I Ketut Ardhana Ardhana, I Ketut Ardhana I Ketut Darmana I Ketut Jirnaya I Ketut Muka I Ketut Setiawan I Ketut Sudewa I Made Agus Oka Gunawan I Made Arik Wira Putra I Made Arik Wira Putra I Made Dian Saputra I Made Dian Saputra I Made Gede Anadhi I Made Suastika I Made Sukma Manggala I Made Suyasa I Made Wijana . I Nengah Duija I Nengah Duija, I Nengah I Nengah Sudipa I Nyoman Darma Putra I Nyoman Dhana I Nyoman Kutha Ratna I Nyoman sukiada I Nyoman Suwana I Nyoman Weda Kesuma I Nyoman Weda Kusuma I NYOMAN WIJAYA I Nyoman Winyana, I Nyoman I Nyoman, Rema I Putu Gede Suyoga I Wayan Ardika I Wayan Cika I Wayan Mulyawan I Wayan Nuriarta I Wayan P. Windia I Wayan Suardiana I Wayan Suharta, I Wayan I Wayan Suka Yasa I Wayan Suwena I Wayan Suwena I Wayan Tagel Eddy Ida Ayu Gede Artayani Ida Ayu Istri Agung Dharmayanti Ida Ayu Kade Sri Sukmadewi, Ida Ayu Kade Ida Ayu Laksmita Sari Ida Ayu Trisnawati, Ida Ayu Ida Bagus Gde Putra Ida Bagus Jelantik Ida Bagus Kade Gunayasa Ida Bagus Made Wisnu Parta Ida Bagus Nyoman Mantra Ida Bagus Oka Wedasantara Ida Bagus Rai Putra Igaa Mas Triadnyani Jro Made Gede Aryadi Putra Juliana, I Wayan Kamidjan Kamidjan Ketut Widya Purnawati Komang Adi Sastra Wijaya Komang Paramartha Kumiko Shishido Kusuma Wardana, Kadek Lilik Rita Lindayani Made Dian Saputra Made Narawati Made Paramasuta Wijaya Maliudin, Maliudin Maria Matildis Banda MPSS, Pudentia Muh Alifuddin Muhammad Badaruddin Ni Ketut Ratna Erawati Ni Luh Gede Meilantari Ni Luh Nyoman Kebayantini Ni Made Indiani Ni Made Ruastiti Ni Made Wiasti Ni Nyoman Karmini Ni Nyoman Kartini Ni Nyoman Seri Astini Ni Putu Diah Astriningsih Ni Wayan Ardini, Ni Wayan Ni Wayan Sumitri Ni'mah, Mamluatun Novena Ade Fredyarini Soedjiwo Nyoman Adiputra Nyoman Kutha Ratna OJSIkip, Admin Parahita Nugraha, Gemara Adhiyasa Paramita, Ida Bagus Gede Pujaastawa, Ida Bagus Gde Pujana, Ida Bagus Anom Wisnu Putra, Ansor Putu Ari Suprapta Pratama Putu Eka Maharani Putu Gede Sridana Putu Sanjaya Putu Titah Kawitri Resen Rahmat Sewa Suraya Raka Asmariani, Anak Agung Rema I Nyoman Rianti Simbolon Rudi Irawanto Rustiani, Komang Wahyu S, Aswandikari Sachiko Takasaki Samsul Samsul Sanjaya, Putu Savitri, Putu Diah Setya Yuawana Setya Yuwana Silvia Damayanti Sri Marheni, Komang Sri Martini Subrahmaniam Saitya, Ida Bagus Sugiarta, I Gde Arya Suka Yasa, I Wayan Suroyo Suroyo Suryadi Suryadi Syamsul Arifin Tadjudin Maknun TATI NURHAYATI Tjokorda Rai Sudharta Wayan Nurita

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