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<![CDATA[IMPOLITENESS IN INDONESIAN TELEVISON SERIES: A CASE STUDY OF VERBAL ABUSE IN ANAK LANGIT TV SERIES ]]>
<![CDATA[Ida Ayu Savitri]]>;
<![CDATA[Riris Tiani]]>
<![CDATA[ Sabda: Jurnal Kajian Kebudayaan Vol 12, No 2: 2017 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/sabda.12.2.181-187
<![CDATA[Anak Langit is an Indonesian sinema elektronik (sinetron) or electronic cinema, a kind of tv series, for teenagers since most of the main characters are teenagers. Young viewers love this tv series as it tells us about the life of a motor gang in a big city which becoming a trend recently in several big cities in Indonesia. Although the main characters show the viewers how to be a good motor gang with positive attitude, we consider the language of this TV series is impolite as the rival of this motor gang often shows verbal abuse in most of their scenes using Bahasa Indonesia dialect  Betawi (the language of Betawi people, the people of Betawi Kampong in Jakarta). Those impolite utterances may be used to show the real life, including the colloquial language, of Jakarta/Betawi people which sometimes considered impolite by common people. It may be also done to strengthen the characteristics of the antagonist ones who are impolite and rude. In Pragmatics Study, impoliteness violates the Maxims of Politeness Principles. This violation can be seen as electronic media violence that may influence viewers to imitate the verbal abuse such as using the impolite utterance or doing the violence. In the end, it may leads into violence and less pro-social behaviour]]>
<![CDATA[TEMPAT-TEMPAT SAKRAL DAN PENERAPAN SAWORA DALAM MASYARAKAT KAMPUNG ISENEBUAI DI KAWASAN TAMAN TELUK CENDERAWASIH ]]>
<![CDATA[Irman Rumengan]]>
<![CDATA[ Sabda: Jurnal Kajian Kebudayaan Vol 12, No 2: 2017 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/sabda.12.2.146-154
<![CDATA[Cultural heritage is an important value owned by some communities in the area of Teluk Cenderawasi National Park. One of which is the legacy of important places owned by Isenebuai village community. Isenebuai village community has Sawora or "oath" to organize and manage the resources, location owned. The implementation of Sawora by Isenebuai village community has been done for a long time. The implementation of Sawora has also been applied to the villagers and the community outside of Isenebuai village, with the rules made by the adat elders and community leaders of Isenebuai village. Sawora and important places of Isenebuai village are a very unique cultural treasure owned by the village community specifically and owned by the Cendrawasih Bay National Park Area in general. In general, Sawora has similarities with Sasi but has a very different implementation base, because Sawora is the original product of Isenebuai village community culture that has existed since long time (before the introduction of Sasi).]]>
<![CDATA[POPOKAN, TRADISI PERANG LUMPUR Tradisi Desa Sendang, Kecamatan Bringin, Kabupaten Semarang ]]>
<![CDATA[Muh Hafidz]]>
<![CDATA[ Sabda: Jurnal Kajian Kebudayaan Vol 12, No 2: 2017 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/sabda.12.2.188-197
<![CDATA[Initially the tradition of popokan is the original tradition of Sendang village. It is developed into a unique tradition in Semarang Regency. The tradition is not only limited to the tradition of mud war among villagers of Sendang Village, but also modified with various processions in the form of cleaning wells or water sources, tumpengan (food offering), carnival and popokan war. Popokan tradition is an expression of gratitude to God the Almighty as the Ruler of the Universe, in order to keep away from various disasters and calamities. This tradition is also an expression of artistic ability and creativity of citizens, especially after the Tourism Office of Semarang Regency manages it in order to preserve local wisdom from the tradition of the local ancestors.]]>
<![CDATA[GLADHEN DALAM SENI PERTUNJUKAN TARI TRADISIONAL JAWA ]]>
<![CDATA[Widyastutieningrum, Sri Rochana]]>
<![CDATA[ Sabda: Jurnal Kajian Kebudayaan Vol 12, No 2: 2017 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/sabda.12.2.107-115
<![CDATA[Gladhen in dance performances is always done by its dancers as an effort to be able to show good performance and aesthetic values. Professional dancers are required to create innovation. The birth of professional dancers is strongly influenced by the training process they experienced. To produce a beautiful dance performance, a professional dancer needs hard training and practice, which is called gladhen. This paper discusses on the proccess of training and practice to produce professional Javanese dancers.]]>
<![CDATA[TRADISI MASYARAKAT NELAYAN RAWA PENING KELURAHAN BEJALEN KECAMATAN AMBARAWA KABUPATEN SEMARANG ]]>
<![CDATA[Cristianawati Cristianawati]]>
<![CDATA[ Sabda: Jurnal Kajian Kebudayaan Vol 12, No 2: 2017 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/sabda.12.2.155-160
<![CDATA[Bejalen village is located in Ambarawa subdistrict which has 470,720 hectars. There are 14,040 hectars of ponds and about 86 hectars rice fields as a good source for fish and agritultural production. The agricultural output reached 14,040 tons of crops and the production of fish amounted 1,533 tons. The Livelihood of community is fishermen. They work everyday based on the old generation tradition. The research purpose has gained more information about the fishermen culture, such as social, economic, and organisational condition.]]>
<![CDATA[DI BAWAH BAYANG-BAYANG MEDIA : Kodifikasi, Divergensi, dan Kooptasi Agama di Era Internet ]]>
<![CDATA[Irwan Abdullah, Irwan Abdullah]]>
<![CDATA[ Sabda: Jurnal Kajian Kebudayaan Vol 12, No 2: 2017 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/sabda.12.2.116-121
<![CDATA[Conventionally the construction of religious knowledge is carried out by the authority / person who has a scientific background and / or skills in the field of religion or the person who gets the legitimacy as a religious teacher, among others called ustadz, kiyai / or tengku. Religious knowledge is top-down because the production of knowledge and the truth of religion is determined by the religious elite so that the public becomes the object of religious. The new media era has changed the tendency of religious education by opening public participation in the production of religious knowledge. Religion becomes the object of daily conversation with diverse and contestative meanings, no longer absolute and elitist. The shift of the center of religious knowledge to the public has brought fundamental implications on the development of religion itself, with the occurrence of aqidah siltation, religious divergence / and co-optation of religion. The center of power shifts from the religious elite to the media that is present within the framework of political economic interests.]]>
<![CDATA[MAKNA RITUAL KEMATIAN DALAM TRADISI ISLAM JAWA ]]>
<![CDATA[Abdul Karim]]>
<![CDATA[ Sabda: Jurnal Kajian Kebudayaan Vol 12, No 2: 2017 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/sabda.12.2.161-171
<![CDATA[Death is an important event that is deeply moving in a drama of life, so that such events never allowed to pass. In the traditiorfoiety, the death is always raising different ritual, that is, the sacred ritual. Javanese moslems have special ritual. The ritual is acculturation between Hindu, Budha and Islamic continually in the past, and now it appears a new tradition. This tradition is different from those in other countries]]>
<![CDATA[AKULTURASI BUDAYA CINA DAN ISLAM DALAM ARSITEKTUR TEMPAT IBADAH DI KOTA LASEM, JAWA TENGAH ]]>
<![CDATA[Diah Ayuningrum]]>
<![CDATA[ Sabda: Jurnal Kajian Kebudayaan Vol 12, No 2: 2017 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/sabda.12.2.122-135
<![CDATA[The Interaction of Chinese culture and Islam has been going on since four hundred years ago. Tolerance between indigenous people, Chinese, and Moslem is well preserved until now. One of them is the architectural town of Lasem and the house in China town area - a typical Chinese style house found in Lasem. Homes, places of worship like temples are also typical Chinese style also prove the occurrence of cultural acculturation in Lasem. The roof of Masid Jami Lasem is a major proof of acculturation between Islamic and Chinese culture]]>
<![CDATA[THE SYMBOL OF LIFE BASED ON WILLIAM CARLOS WILLIAMS’S POEM, "SPRING AND ALL" THROUGH STILISTIC VIEW ]]>
<![CDATA[Jumino Jumino]]>
<![CDATA[ Sabda: Jurnal Kajian Kebudayaan Vol 12, No 2: 2017 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/sabda.12.2.172-180
<![CDATA["Spring and All" poem talks about life around us as a simple daily experience, describing the turn of the winter to the coming of the next season, spring. Human life is always changing. Not always happy, symbolized by winter but also not forever suffering, symbolized by spring. Natural suffering is usually a test to achieve happiness. Williams changes his choice of words between two parts of the poem to give the reader a different feeling in the poem that provides a contrast to the ideas of life and death. Through "Spring and All", Williams wants to show the reader how the ideas of life and death can be seen through the transition from winter to spring. He uses dreary imagery (winter) to show sorrow and death, then uses imagery (spring) to live life and hope. Thus, if people think positively, there will be opportunities to improve in the future.]]>
<![CDATA[HUKUM DAN PERAN LILIFUK DI TENGAH REZIM PEMERINTAHAN: ANALISIS HUKUM DAN KEBERLANJUTAN KEARIFAN LOKAL DI DESA KUANHEUN, KABUPATEN KUPANG BARAT, NUSA TENGGARA TIMUR ]]>
<![CDATA[Asagabaldan, Meezan Ardhanu]]>
<![CDATA[ Sabda: Jurnal Kajian Kebudayaan Vol 12, No 2: 2017 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/sabda.12.2.136-145
<![CDATA[The main objective of the management of coastal areas and marine resources is preserving resources and improving the welfare in coastal areas and small islands. The Ecological, social and cultural rights of local communities are the foundation for management of sustainable resource. Lilifuk is one of the local wisdoms in, West Kupang, with the aim is to support the conservation of coastal and marine. The main income of Lilifuk is fish catch such as lada/Beronang (Siganus spp.), Alu-alu/barracuda (Sphyranidae), grouper (Ephinephelus), and Peperek (Leigonathidae). Lilifuk has some beneficial thing for economical, social, and environmental aspects. Local communities that are involved, either directly or indirectly, make a significant contribution in keeping the existence of Lilifuk.]]>
