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"Dari adanya adaptasi budaya modern foto prewedding tentu akan memiliki kaitan dengan fenomena lain, terutama dari rangkaian acara pranikah yang sudah ada sebelumnya, seperti tradisi pingitan atau masa dipiare dalam adat kebudayaan masyarakat Betawi. Terdapat modifikasi pada masa piare demi melakukan foto prewedding yang dinilai memiliki nilai yang lebih substansial. Penelitian ini bertujuan untuk melihat dampak munculnya tren foto prewedding di kalangan generasi milenial dan keterkaitannya dengan praktik masa piare dalam kebudayaan orang Betawi. Penelitian ini juga menggali lebih dalam tentang bagaimana masa piare masa kini direproduksi menjadi aktivitas yang tetap ada namun tidak dijadikan aktivitas wajib yang perlu dilakukan, karena adanya produksi budaya baru yang modern dan dinilai lebih substansial, yakni tren budaya foto prewedding. Dalam penelitian ini, digunakan pendekatan teori subjectivity, practice, dan cultural value. Hasil penelitian menunjukkan bahwa praktik piare saat ini dinilai tidak lagi relevan dengan perkembangan zaman. Ini karena di masa sekarang calon pengantin milenial harus melakukan beragam aktivitas pranikah seperti technical meeting dengan para vendor, fitting gaun, testing food, bridal shower, dan yang utama yaitu foto prewedding. Hal-hal tersebut dinilai lebih substansial sehingga menjadi alasan para calon pengantin milenial Betawi melakukan negosiasi pada pelaksanaan praktik masa piare dari sebulan menjadi hanya beberapa hari saja.

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From the adaptation of modern culture, prewedding photos are related to other phenomena, especially from a series of prewedding events, such as the tradition of the dipiare period among the Betawi people.There was a modification during the piare period due to the practice of prewedding photos which were considered to have substantial value. This study aims to examine the impact of the emergence of the prewedding photo trend among the millennial generation and its relation to the practice of piare in Betawi culture. This research also digs deeper into how the current piare period is reproduced into an activity that still exists but is not mandatory, due to the existence of a new, modern cultural production, known as the prewedding photo trend. In this research, the theory of subjectivity, practice, and cultural values is used. The results of the study show that the current practice of piare is considered no longer relevant to the times. This is because nowadays millennial brides-to-be have to carry out various prewedding activities such as technical meetings with vendors, dress fittings, food testing, bridal showers, and most importantly, prewedding photos. These things are considered to be more substantial, so they are the reason for Betawi millennial brides to negotiate the implementation of the piare period from a month to just a few days."

"Balian adalah istilah yang umum digunakan dalam budaya masyarakat Dayak untuk merujuk pada dua pengertian, yakni sebagai ritual adat yang biasanya ditujukan untuk mengusir penyakit atau sebagai bentuk syukur, dan balian sebagai pemangku ritual adat tersebut. Adalah novel Lampau karya Sandi Firly yang diterbitkan oleh GagasMedia pada 2013 yang menceritakan kisah tentang seorang anak Dayak Meratus dalam perjalanannya dalam mengejar mimpi. Novel tersebut mengangkat tradisi dan figur balian sebagai pemantik konflik para tokohnya yang kurang lebih menyoroti tentang terbatasnya pilihan hidup keturunan balian dan peran perempuan menjadi figur balian. Ditemukan rumusan masalah berupa gambaran representasi tokoh dan ritual balian yang terdapat di dalam novel ini. Penelitian ini menggunakan teori representasi dengan pendekatan sosiologi sastra dan penelitian kualitatif dengan metode deskriptif. Hasil dari penelitian ini ialah penggambaran tentang tokoh utama novel Lampau yang pada akhirnya memilih untuk mengikuti jalannya tradisi walau tidak sesuai dengan apa yang ia yakini selama ini.

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Balian is a term that is frequently used in the culture of the Dayak people and has two meanings: it can refer to either the leader of a traditional rite or the ritual itself that is typically performed to banish disease and as a sign of gratitude. A novel titled Lampau by Sandi Firly, which was published by GagasMedia in 2013, tells the story about a Dayak Meratus youngster who attempts to pursue his dream. The depiction of balian as a ritual and a figure in this novel is used to raise the conflict, which circulated between the limitation of life a balian descendant should face and the role played by woman in the balian ritual. The representation of balian in the novel as a ritual and as a figure is the issue that is explored in this paper. This paper used qualitative research with a descriptive methodology combined with theory of representation in literary sociology approach. The paper’s concluded in the depiction of the main character who ultimately decides to follow the route of tradition even though it is not accordance to what he believes all this time."

"This paper examines with a particular affixe (keter-/-an) consisting in two primaryaffixes. Through the analyse of terms coined by the Pusat Bahasa and spontaneousterms, the paper distinguishes between ?double? and ?complex? affixation,corresponding to different operating modes of affixation. The first deals withan already affixed and lexicalized word, then reaffixed and relexicalized. Thesecond, almost only found in documents produced by the Pusat Bahasa, refersto a base getting a first affix in a poorly (or not) lexicalized form, constitutingno more than a morphological stage towards the wished form, which is intentas lexicalized. Complex affix keter-R-an is basically a morphological calque andthe author argues that it has been promoted and used during New Order on anideological basis, as a mean to modernize Indonesian terminology by keepingits shape indigenous rather than by direct borrowing of English terms."

"This paper examines with a particular affixe (keter-/-an) consisting in two primaryaffixes. Through the analyse of terms coined by the Pusat Bahasa and spontaneousterms, the paper distinguishes between ?double? and ?complex? affixation,corresponding to different operating modes of affixation. The first deals withan already affixed and lexicalized word, then reaffixed and relexicalized. Thesecond, almost only found in documents produced by the Pusat Bahasa, refersto a base getting a first affix in a poorly (or not) lexicalized form, constitutingno more than a morphological stage towards the wished form, which is intentas lexicalized. Complex affix keter-R-an is basically a morphological calque andthe author argues that it has been promoted and used during New Order on anideological basis, as a mean to modernize Indonesian terminology by keepingits shape indigenous rather than by direct borrowing of English terms."

"Known as pantun to the Malays in Brunei, Malaysia, Pattani, Riau, Singapore, and Southern Phillipines, it is called peparikan to the Javanese, sesindiran to the Sundanese and many other different names in different ethnic groups in the different parts of the Indo-Malay world, which is made up of Brunei, Indonesia, Malaysia, Singapore, Pattani in southern Thailand, and Mindanao in the southern Philippines. In almost every settlement that sprang up along the major rivers and tributaries in the Indo-Malay world, the pantun blend well with their natural and cultural surroundings. In this article, the geographical extent of the pantun family in the Indo-Malay world is likened to a mighty river that has a complex network of tributaries all over the Indo-Malay world. Within the Indo-Malay world, it is the movement of the peoples help the spread of pantun from one area to the other and makes it an art form of immensely rich and intricate as can be seen from the examples given."

"R.M. Noto Soeroto was one of the Indonesian writers who wrote in Dutch.His poems and essays in Dutch were well appreciated by both the Dutch andthe Indonesian society in the Netherlands. He published his works in Oedaya:Majalah bergambar untuk Indonesia, a magazine (1923-1931) that was founded byhim. His works can be categorized as Dutch-East Indies literature. Most of hisworks in Dutch were written when he lived in the Netherlands and describethe Javanese culture. This article is an analysis on three of Soeroto?s poems.These three poems present flowers as theme, two poems are from his anthologyMelatiknoppen: gedichten in proza (1915) and one poem from De geur van moedershaarwrong (1922). Flowers are most usually seen as a symbol for women, andthus represent the idea of femininity. However, the flowers in these three poemsrefer to the idea of masculinity. Jasmine is no longer a symbol limited to thefeminine gender. In Javanese culture, the jasmine flower attached to the hairis a symbol of femininity. The flower wrapped around the kris is a symbol ofmasculinity. Furthermore jasmine is a symbol for struggle. This article tries todemonstrate the presence of masculinity through the use of flowers and theirrole as an image of masculinity in Noto Soeroto?s poems."

"ABSTRAKBudaya merantau dalam kesusastraan Indonesia merupakan salah satu tema yang muncul sejak tahun 1920-an. Hamka pada tahun 1939 menulis Merantau ke Deli yang menentang pandangan adat Minangkabau yang menganggap seorang laki-laki tidak ada harganya jika menikah dengan perempuan yang bukan berasal dari Minangkabau. Pada tahun 2013, muncul kumpulan cerpen Yang Menunggu dengan Payung, di antaranya berbicara tentang merantau. Dalam konteks masyarakat Minangkabau, selain merantau dianggap sebagai adat, merantau juga menimbulkan persoalan-persoalan. Penelitian ini membahas budaya merantau pada masyarakat Minangkabau yang terdapat di dalam cerpen ldquo;Tabung Cahaya rdquo;, ldquo;Bida dari Bukit Barisan rdquo;, dan ldquo;Bini Perantau rdquo; karya Zelfeni Wimra. Jadi, kajian dari ketiga cerpen tersebut diperoleh simpulan bahwa merantau tidak selalu menjadi jalan keluar yang tepat ketika sebuah keluarga menghadapi masalah ekonomi. Ternyata merantau tidak selalu didorong oleh motif ekonomi. Adapun motif lain yaitu karena kekecewaan atas perubahan desanya dan motif tekanan sosial.Budaya merantau dalam kesusastraan Indonesia merupakan salah satu tema yang muncul sejak tahun 1920-an. Hamka pada tahun 1939 menulis Merantau ke Deli yang menentang pandangan adat Minangkabau yang menganggap seorang laki-laki tidak ada harganya jika menikah dengan perempuan yang bukan berasal dari Minangkabau. Pada tahun 2013, muncul kumpulan cerpen Yang Menunggu dengan Payung, di antaranya berbicara tentang merantau. Dalam konteks masyarakat Minangkabau, selain merantau dianggap sebagai adat, merantau juga menimbulkan persoalan-persoalan. Penelitian ini membahas budaya merantau pada masyarakat Minangkabau yang terdapat di dalam cerpen ldquo;Tabung Cahaya rdquo;, ldquo;Bida dari Bukit Barisan rdquo;, dan ldquo;Bini Perantau rdquo; karya Zelfeni Wimra. Jadi, kajian dari ketiga cerpen tersebut diperoleh simpulan bahwa merantau tidak selalu menjadi jalan keluar yang tepat ketika sebuah keluarga menghadapi masalah ekonomi. Ternyata merantau tidak selalu didorong oleh motif ekonomi. Adapun motif lain yaitu karena kekecewaan atas perubahan desanya dan motif tekanan sosial.

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ABSTRACTThe culture of wandering in Indonesian literature is one of the themes that emerged during the 1920s. Hamka in the 1939 wrote Merantau ke Deli against the Minangkabau tradition view that regarded a man as worthless if married to a woman who was not from Minangkabau. In 2013, there appears a collection of short stories that Yang Menunggu dengan Payung among them talking about wandering. In the context of Minangkabau society, in addition, to wander considered customary, wander also cause problems. This research discusses the culture of wandering in Minangkabau society contained in short stories of ldquo Tabung Cahaya rdquo , ldquo Bida dari Bukit Barisan rdquo , and ldquo Bini Perantau rdquo by Zelfeni Wimra. So, the study of these three short stories obtained the conclusion that wanderers are not always the right way out when a family faces an economic problem. Apparently, wanderers are not always driven by economic motives. The other motives are due to disappointment over the change of village and the motive of economic pressure."