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Abstrak :
ABSTRACT
This dissertation discusses tau-tau as one of the funeral equipment (mmbu solo?) for the Torajan noble society (lana' bulaan). Tau-tau is a ?statue? of a deceased person. There are 3 kinds of tau-tau: tau-tau nangka', tau-tau lampa?, and batelepong. After a funeral, only tau-tau nangka is placed on top of a cliff, alongside other previous tau-tau nangira, while tau-tau lampa and batelepong are thrown to the shrubs.

At first, tau-tau was worshiped and mourned by the Aluk to Dolo Torajan family and community, but as the Torajan people left the Aluk to Dolo belief and most change their belief to Christiani or some change to Islam, tau-tau is no longer worshiped and mourned, but used to maintain and reinforce nobility. Therefore, tau-tau Aluk to Dolo rituals are modified according to the belief of a family who practice the ritual.

The phenomenon mentioned above is a general picture and a small part of tau-tau's existence and rituals in the past to present. Therefore, it is interesting to study it further; although Aluk to Dolo belief is gradually left behind by the Torajan people, almost all the principles are still practiced in various rituals, to maintain custom and tradition in Torajan.

This research's question is how the Torajan community conducts funeral where tau-tau is still made as a symbol of Torajan's nobility (although they do not practice Aluk to Dolo), and the use of it in social life and rambu solo'ritual which are conducted by Torajan Aluk to Dolo community and modern Torajan community.

This research uses Radcliffe-Brown's structure and function concept (1952), Durkheim (1954), Turner (1957, 1974), who suggest that religion reflects the structure of a social system, and functions to maintain the system throughout time. Structure and function concept sees the community as a system of social structures. Structure in this case is real pattems of relations or interactions among various social components - pattems which relatively last longer because those interactions occur in an approximately organized way (Saifuddin, 2009. The function of religion is an effort to strengthen and reaffirm social solidarity, and as something that has a signilicant symbol to a group or community. The existence of tau-tau?s function and meaning which continuously changed and modified (no longer suitable with Aluk to Dolo), is an indication that the tau-tau they made no longer has a sacred meaning.

Findings in this research are: 1) Tau-tau is a personification, regarded as a reincarnation and the residence of the deccased?s spirit after a series of Aluk to Dolo ceremonies. Tau-tau is accepted as a depiction of the deceased, not only shaped by association of costume and ritual which affirms tau-tau as a ?reincarnation? of the deceased, but also caused by the positive response from Torajan conununity which submits to and accepts the lau-tau and considers it resembles, even similar to the deceased. This made tau-tau is highly respected and worshiped by the family and Torajan community in general, as if the person is still alive. 2) Tau-tau represents nobility. This is because the making of tau-tau is based on social stratification in Aluk to Dolo, which is still held firmly by Toraja community up until now. Tau-tau as a representation of nobility also shows in how attributes, costume, and how the costume is worn by tau-tau. For example, the headband (passapu) on men, chignon (simbolon) on women, clothes (bayu), knee- length trousers (seppa tallu buku), sarong (dodo), puch to store betel and nut (sepu). In daily life, only noble society is allowed to wear the costume, while common people are not allowed to.

Conclusion: The outcome of this research shows that the production of tau-tau as one of the funeral equipments in Toraja?s noble families up to this day, has a close relation to an elfort of reaffirmation and reconfirmation in group solidarity, and has a significant symbol in the families' social status in many ways, particularly in ceremonies where it is very respected by the Toraja community. The existence of tau-tau in a Toraja's noble family funeral was a part of a religious ritual, Aluk to Dolo. Therefore, it is not easy for a noble to remove a habit of making a tau-tau or a statue portraying a deceased person, even though they have left Aluk to Dolo belief.

Therefore, there are different kinds of tau-tau that consist of: 1) Original tau-tau (tau- tau Aluk to Dolo). It has a simple shape, not proportional, and entirely different from the deceased, placed at the funeral site, a spirit is believed to reside in the tau-tau, and is sacred. 2) Realistic tau-tau (Christian tau-tau). ldeal in shape and proportion, and resembles the deceased, placed at the funeral site, and profane. 3) Portrait statue. The shape, proportion and its style consider more on the artistic value to replicate the deceased, and placed in houses as an artwork. 4) Souvenir tau-tau. Made with various shapes, sizes, and materials, and sold around the funeral site and souvenir stores in Rantepao and Makale.

Abstrak :
[ABSTRAK
Tesis ini merupakan penelitian mengenai tradisi lisan Gaok di Majalengka. Penelitian ini bertujuan untuk mengungkapkan fungsi dan makna Gaok bagi kehidupan masyarakat Kulur Majalengka serta proses pemertahanan Gaok yang dilakukan dalang Rukmin. Sumber data diperoleh dari data lapangan dan studi pustaka. Penelitian menggunakan beberapa konsep dan teori pertunjukan tradisi lisan, kelisanan, teori struktural Propp dan pengelolaan tradisi lisan.

Metode penelitian menggunakan metode etnografi (salah satu pendekatan Kajian Tradisi Lisan). Hasil penelitian menunjukan bahwa Gaok memiliki makna dan fungsi bagi masyarakat Kulur Majalengka. Fungsi Gaok bagi masyarakat Kulur meliputi: fungsi hiburan, media doa, dan fungsi penjaga nilai-nilai pendidikan. Makna Gaok meliputi: Representasi nilai-nilai spiritualitas, Representasi nilai perempuan, representasi tradisi riungan dan pesta makanan, representasi norma hukum, dan representasi sejarah Majalengka.

Sedangkan upaya pemertahanan dilakukan oleh dalang melalui kreativitas membuat Giok kombinasi, mengelola sanggar, dan menyimpan wawacan. Namun demikian upaya tersebut berjalan kurang optimal karena keterbatasan kemampuan dan dana yang dimiliki Rukmin serta kurangnya dukungan dari pihak eksternal yakni pemerintah dan masyarakat. Akibatnya proses transmisi dan pewarisan melalui pengajaran terhadap generasi muda tidak berjalan.

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ABSTRACT
This thesis indicated a research about Gaok 's oral tradition in Majalengka. The research aimed to disclose a function and Gaok's meaning for society life of Kulur, Majalengka. As well as the survival process of Gaok which was done by "dalang" (the master) Rukmin. Data sources was obtained by field study and literary study. This research used various of concepts and the theories of oral tradition performance, orality, Propp structural theory and the management of oral tradition. The research method used ethnography method (one of the approaches of Oral Tradition Study). The research result showed that Gaok had meaning and function for Kulur society. The function were: entertainment,praying media, as well as for keeping education values. The meaning of Gaok were: Representatives of spiritual values, Representatives of women values, Representatives of "Riungan" tradition and meal party, Representatives of law values, Representatives of Majalengka's History. The effort to converse was done by "dalang" Rukmin through the creativity of rrraking combination of Gaok, managing a Sanggar (club) and saving wawacan (texts.) However those efforl was not optirnal enough due to the lirnitation of ability and fund which was owned by Rukrnin and lack of support from external sides namely government and society. As a result, transmission process and inheritance through teaching to young generation were not carried out.;This thesis indicated a research about Gaok 's oral tradition in Majalengka. The research aimed to disclose a function and Gaok's meaning for society life of Kulur, Majalengka. As well as the survival process of Gaok which was done by "dalang" (the master) Rukmin. Data sources was obtained by field study and literary study. This research used various of concepts and the theories of oral tradition performance, orality, Propp structural theory and the management of oral tradition. The research method used ethnography method (one of the approaches of Oral Tradition Study). The research result showed that Gaok had meaning and function for Kulur society. The function were: entertainment,praying media, as well as for keeping education values. The meaning of Gaok were: Representatives of spiritual values, Representatives of women values, Representatives of "Riungan" tradition and meal party, Representatives of law values, Representatives of Majalengka's History. The effort to converse was done by "dalang" Rukmin through the creativity of rrraking combination of Gaok, managing a Sanggar (club) and saving wawacan (texts.) However those efforl was not optirnal enough due to the lirnitation of ability and fund which was owned by Rukrnin and lack of support from external sides namely government and society. As a result, transmission process and inheritance through teaching to young generation were not carried out., This thesis indicated a research about Gaok 's oral tradition in Majalengka. The research aimed to disclose a function and Gaok's meaning for society life of Kulur, Majalengka. As well as the survival process of Gaok which was done by "dalang" (the master) Rukmin. Data sources was obtained by field study and literary study. This research used various of concepts and the theories of oral tradition performance, orality, Propp structural theory and the management of oral tradition. The research method used ethnography method (one of the approaches of Oral Tradition Study). The research result showed that Gaok had meaning and function for Kulur society. The function were: entertainment,praying media, as well as for keeping education values. The meaning of Gaok were: Representatives of spiritual values, Representatives of women values, Representatives of "Riungan" tradition and meal party, Representatives of law values, Representatives of Majalengka's History. The effort to converse was done by "dalang" Rukmin through the creativity of rrraking combination of Gaok, managing a Sanggar (club) and saving wawacan (texts.) However those efforl was not optirnal enough due to the lirnitation of ability and fund which was owned by Rukrnin and lack of support from external sides namely government and society. As a result, transmission process and inheritance through teaching to young generation were not carried out.]

Abstrak :
Penelitian ini bertujuan untuk mengetahui, menganalisis dan mendeskripsikan frasa dan kata majemuk yang memiliki fungsi dan makna dalam puisi. Sumber data penelitian adalah dua puisi dari Don Quixote. Teknik pengumpulan data dilakukan teknik pembacaan dan teknik pencatatan atau simak catat dan dianalisis dengan teknik analisis deskriptif kualitatif secara formal dan informal. Hasil penelitian menunjukkan bahwa (1) jenis frasa yang ditemukan dalam puisi ini ada lima yaitu: frasa determiner/FD, frasa nominal (FN), frasa verba (FV), frasa adjektiva (F Adj.) dan frasa preposisional (F Prep.). (2) Fungsi yang dibedakan menjadi 3, yaitu referensial, puitis/estetis dan komunikatif. (3) Makna yang ada dalam sajak tersiri dari 5 yaitu denotatif, gramatikal, kiasan, idiom, dan konotatif. (4) Fungsi frasa dan kata majemuk dalam sajak.

Abstrak :
ABSTRAK
Tujuan tulisan ini adalah untuk mendeskripsikan fungsi dan makna yang diungkapkan dalam sastra Bali tradisional. Setiap karya sastra memiliki fungsi dan makna yang dapat memberikan kesenangan dan manfaat (dulce et utile) bagi penikmatnya. Demikian juga halnya dengan karya sastra Bali tradisional. Fungsi sastra Bali tradisional adalah untuk memberi hiburan dan mendidik. Makna yang terdapat di dalamnya memberi- kan manfaat untuk membentuk karakter pada penikmatnya. Pendekatan pragmatik dan hermeneutik digunakan untuk memperoleh data dan hasilnya disajikan secara deskriptif dengan teknik induktif-deduktif.

Abstrak :
Pasif dalam bahasa Jepang dibagi menjadi 2 jenis, yaitu Pasif langsung dan Pasif Tak Langsung. Pasif langsung tidak ada keistimewaannya, tetapi pasif tak langsung mempunyai keistimewaan yang membuat penulis berusaha menganalisa keistimewaannya ini. Keistimewaannya adalah, ada kecenderungan pasif tak langsung ini mengungkapkan makna mengganggu, susah dan tidak menyenangkan. Skripsi ini mencoba menganalisa sejauh mana peran penggunaan kata kerja dalam pembentukan pasif tak langsung yang mengungkapkan makna mengganggu, susah dan tidak menyenangkan. Dari 72 kalimat yang diambil dari berbagai sumber, penulis berusaha mengelompokkan kata kerja yang bila dipakai dalam bentuk pasif mengungkapkan makna mengganggu, susah dan tidak menyenangkan. kesimpulan dari penganalisaan, adalah bahwa tidak benar pendapat Mikami Akira (1953) yang menyatakan bahwa, pasif tak langsung ini selalu mengungkapkan makna mengganggu, susah dan tidak menyenangkan, sehingga Mikami Akira menamakan pasif tak langsung ini 'Hata Meiwaku No Ukemi'(Pasif mengganggu tak langsung), dan hasil analisa ini mendukung pendapat Sakuma Kanae yang menamakan Pasif Tak Langsung ini Rigai No Ukemi.