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"The thesis is an attempt to examine two different modes of literary expression -- oral and written. It highlights their differences and similarities through an analysis of structure of selected texts taken from oral and written situation. The contention is that, literacy with all its consequences, effected varied changes on the structure of narrative which are not possible in texts rendered in the oral mode."

"[ABSTRAKPanji Angreni merupakan karya sastra yang disalin pada tahun Jawa 1723 atau1795 dari suatu teks abad ke-17 yang?sayang?tidak diketahui teks induknya,pada masa ?budaya lisan kedua?. Teks dibingkai dengan sekar macapat, terdiriatas 48 pupuh ?bab? dan meliputi 1.983 pada ?bait?. Jarak budaya menimbulkanpertanyaan: bagaimana ?cara membaca? PA bagi pembaca masa kini. Dalam halini ?cara membaca? merujuk pada pemaknaan, karena bagaimanapun maknasastra lama dapat dipahami jika ada keakraban antara pembaca dan konvensi padazamannya. Analisis menunjukkan bahwa PA, sebagai teks tulis, menujukkan ciricirikelisanan melalui formula/formulaik. Keberpautan antara kelisanan dankeberaksaraan ditunjukkan oleh macapat sebagai bingkai teks: membaca teks yangdibingkai macapat harus dinyanyikan karena aturan formal pembaitan macapatsekaligus bertautan dengan tata susun nada. Pembacaan teks dengan caraditembangkan seturut tata susun nada akan menghasilkan makna secara padu?baik tekstual maupun keindahan: kisahan, leksikal, tematik dan bunyi (segmentalsuprasegmental-musikal). Membaca PA seyogianya juga memahami pakeliran?pergelaran wayang? kerena adanya tapak-tapak pakeliran pada PA.;

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ABSTRACTPanji Angreni is a literature work which was copied in the Javanese year of 1723or 1795 AD from 17th century text in the era of ?secondary oral culture? that?unfortunately?was not known for its first hand manuscript. The text of PanjiAngreni is framed by macapat?s songs that consist of 48 cantos ?chapters? andcover 1,983 couplets ?stanzas?. A cultural distance raises a questions on ?how ?toread? Panji Angreni to current readers?? The ?how to read? phrase refers to themeaning, because an old literature meaning can be understood if there is afamiliarity between a reader and conventions text era. Analysis showed that PanjiAngreni, as written text, has literacy characteristic through formula/formulaic. Aninterlocking between orality and literacy is shown by macapat as atext frame;wheres reading a text that is framed by macapat should be sung because formalrules in macapat?s stanzas are engaged to tone row order. Reading the text bysinging it in accordance to tone row order will result in coherent meaning, bothtextual an beauty meaning, particulary in narratives, lexical, thematic and sound(segmental-suprasegmantal-musical). Moreover, those who reading Panji Angrenishould also understand pakeliran ?leather puppet performance story? because thereare many tracs of pakeliran in Panji Angreni.;Panji Angreni is a literature work which was copied in the Javanese year of 1723or 1795 AD from 17th century text in the era of ?secondary oral culture? that?unfortunately?was not known for its first hand manuscript. The text of PanjiAngreni is framed by macapat?s songs that consist of 48 cantos ?chapters? andcover 1,983 couplets ?stanzas?. A cultural distance raises a questions on ?how ?toread? Panji Angreni to current readers?? The ?how to read? phrase refers to themeaning, because an old literature meaning can be understood if there is afamiliarity between a reader and conventions text era. Analysis showed that PanjiAngreni, as written text, has literacy characteristic through formula/formulaic. Aninterlocking between orality and literacy is shown by macapat as atext frame;wheres reading a text that is framed by macapat should be sung because formalrules in macapat?s stanzas are engaged to tone row order. Reading the text bysinging it in accordance to tone row order will result in coherent meaning, bothtextual an beauty meaning, particulary in narratives, lexical, thematic and sound(segmental-suprasegmantal-musical). Moreover, those who reading Panji Angrenishould also understand pakeliran ?leather puppet performance story? because thereare many tracs of pakeliran in Panji Angreni., Panji Angreni is a literature work which was copied in the Javanese year of 1723or 1795 AD from 17th century text in the era of “secondary oral culture” that—unfortunately—was not known for its first hand manuscript. The text of PanjiAngreni is framed by macapat’s songs that consist of 48 cantos ‘chapters’ andcover 1,983 couplets ‘stanzas’. A cultural distance raises a questions on ‘how “toread” Panji Angreni to current readers?’ The “how to read” phrase refers to themeaning, because an old literature meaning can be understood if there is afamiliarity between a reader and conventions text era. Analysis showed that PanjiAngreni, as written text, has literacy characteristic through formula/formulaic. Aninterlocking between orality and literacy is shown by macapat as atext frame;wheres reading a text that is framed by macapat should be sung because formalrules in macapat’s stanzas are engaged to tone row order. Reading the text bysinging it in accordance to tone row order will result in coherent meaning, bothtextual an beauty meaning, particulary in narratives, lexical, thematic and sound(segmental-suprasegmantal-musical). Moreover, those who reading Panji Angrenishould also understand pakeliran ‘leather puppet performance story’ because thereare many tracs of pakeliran in Panji Angreni.]"

"Penelitian mengenai cerita pantun Sunda dewasa ini jaih lebih sedikit jumlahnya dibandingkan dengan penelitian tentang teks sastra Sunda tertulis seperti yang berupa naskah (manuscript: handschrift). Dalam cerita pantun sarat dengan nilai-nilai pendidikan karakter, seperti dalam teks cerita pantun Mundinglaya di Kusuma (CPMK). Beberapa alasan pentingnya dilakukan penelitian terhadap teks CPMK adalah sebagai berikut: (1) Teks CPMK belum pernah ditelilli mengenai tranformasi dari kelisanan ke keberaksaraannya, (2) teks CPMK belum pernah dikaji secara struktural-semiotik, (3) teks CPMK belum pernah dikaji berdasarkan pendekatan etnopedagogi sehingga diperoleh informasi yang berkenaan dengan nilai-nilai pendidikan karakter bangsa dari teks tersebut. Pendekatan sastra yang digunakan dalam penelitian ini adalah pendekatan objektif dengan metode struktural-semiotik. Hasil penelitian ini menunjukkan bahwa (1) Tradisi dan transmisi penurunan teks CPMK dilakukan secara lisan melalui pergelaran mantun, sedangkan tradisi dan transmisi teks WMK tidak dapat diketahui dengan pasti karena teks itu merupakan satu teks unikum. (2) Teks lisan CPMK dan WMK memiliki struktur formal dan struktur naratif. Struktur formal CPMK terbentuk oleh 8 formula, sedangkan struktur formal WMK terbentuk oleh puisi pupuh. Struktur naratif CPMK tersusun dalam 13 fungsi dan 7 lingkungan tindakan, sedangkan struktur naratif WMK tersusun dalam 6 model aktan dan 1 model fungsional yang terdiri atas 3 tahpan jalan cerita. (3) Transformasi yang terjadi dari kelisanan (orality) CPMK ke keberaksaraan (literacy) WMK ada pada tataran bentuk formal, sedangkan tataran isi cerita tetap sama. (4) Hadirnya transformasi dari kelisanan CPMK ke keberaksaraan WMK, secara semiotik, moral yang tertuang dalam cerita pantun ke dalam era (zaman) wawacan sejalan dengan situasi dan kondisi serta minat masyarakat Sunda masa itu."

"In this book, Lynne Kelly explores the role of formal knowledge systems in small-scale oral cultures in both historic and archaeological contexts. In the first part, she examines knowledge systems within historically recorded oral cultures, showing how the link between power and the control of knowledge is established. Analyzing the material mnemonic devices used by documented oral cultures, she demonstrates how early societies maintained a vast corpus of pragmatic information concerning animal behavior, plant properties, navigation, astronomy, genealogies, laws and trade agreements, among other matters. In the second part Kelly turns to the archaeological record of three sites, Chaco Canyon, Poverty Point and Stonehenge, offering new insights into the purpose of the monuments and associated decorated objects. This book demonstrates how an understanding of rational intellect, pragmatic knowledge and mnemonic technologies in prehistoric societies offers a new tool for analysis of monumental structures built by non-literate cultures."

"This paper discusses practices of translating the Qur’an into Javanese in the Indonesian post-independence era. Focusing on works that emerged in pedagogical contexts, it demonstrates that the range of translation practices goes far beyond contemporary notions of scriptural translation. I argue that this is due to the oral origin of these practices and to the functions they assume in teaching contexts. These result in a higher visibility of the translator who appears as a religious authority in his1 own right. His voice might therefore be considered a valuable contribution to the translation, rather than a distortion of the source text’s true meaning. These dynamics are tied to the status of Javanese in a country in which the predominant language of print is Indonesian. Studying translation activities in languages without official status in the nation-state period contributes to widening our perspective on contemporary translation practices."

"mengenai bagaimana belajar membaca dengan kritis"