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"[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 ini mendiskusikan tentang aspek kelisanan dan fungsi yang terdapat pada 4 sastra lisan yang berwujud Mantra Bato Peter. Tujuan dari penelitian ini, yaitu untuk mengetahui dan memperoleh gambaran tentang aspek-aspek kelisanan dan fungsi sastra lisan tersebut. Metode yang digunakan ialahdeskriptif kualitatif. Pengumpulan data pada penelitian ini meliputi, (1) Studi Kepustakaan dengan berfokus pada aspek kelisanan dan fungsi yang telah dikumpulkan dan dianalisis menggunakan teori dari Ruth Finneagan yang meliputi Composition, Transmission, Performance, dan Audience; dan teori fungsi dari Hutomo. Hasil dari penelitian ini menunjukkan bahwa baik Mantra Bato Peter, mitos menstruasi, mantra prosesi Drojogan dan sastra lisan lawas memiliki komposisi yang terbentuk pada saat pertunjukan, pewarisan yang berkaitan dengan pemurnian pewarisan secara lisan, pertunjukan yang memuat kinerja lisan saat ditampilkan, dan audience yang melibatkan masyarakat lokal dalam proses pertunjukannya. Selain itu fungsi yang terdapat pada obyek material masing-masing sebagai hiburan masyarakat setempat, wadah pelarian dari himpitan hidup sehari-hari, pemaksa berlakunya norma-norma sosial, dan proyeksi peristiwa-peristiwa sosial."

"Tradisi maataa merupakan tradisi tahunan yang di dalamnya terdapat berbagai ritual, kabhanti, dan tarian. Tradisi maataa memiliki nilai yang dapat mempersatukan masyarakat pendukungnya. Nilai itu berupa nilai religius dan nilai sosial, bahkan secara filosofi tradisi maataa merupakan perwujudan dari siklus kehidupan terutama yang berhubungan dengan kelahiran dan perkawinan. Selain itu, masalah kelisanan ditemukan dalam kabhanti tradisi maataa.Tujuan penelitian ini adalah mengungkapkan kelisanan dan keberlangsungan tradisi maataa. Metode yang digunakan adalah metode kualitatif dengan pendekatan etnografi. Hasil penelitian menunjukan bahwa kelisanan dalam tradisi maataa tercermin dari kabhanti yang dilantunkan yang sarat dengan repetisi dan penggunaan perumpamaan yang mengambil dari alam sekitar. Selain itu, kabhanti dalam tradisi maataa penciptaannya terjadi secara spontan sangat bergantung pada audiens dan penari. Dari segi formula kabhanti dalam tradisi maataa umumnya berbentuk frasa dan ketika dilantunkan terjadilah variasi yang berbentuk teks dan cara melantunkannya. Untuk mempertahankan eksistensinya tradisi maataa diwariskan dengan melalui tiga pola pewarisan yaitu pewarisan dalam pertunjukan, pewarisan secara langsung, dan pewarisan di kalangan sendiri.

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Maataa is an annual tradition and has various ritual, kabhanti and dancing. Maataa tradition has value that could unite all the society. Those values are religious and social value, even philosophically maataa tradition is a life cycle which relates to natality and marriage. In other hand, orality problem is also found in kabhanti maataa tradition.

The objective of this research is to explore the orality and the sustainity of maataa tradition. It used qualitative method by ethnography approach. The result shows that orality in maataa tradition reflected from the sound of kabhanti which has repetition and using of metaphor from the environment. Then, kabhanti in maataa tradition created spontaneously depend on the audiences and the dancers. Kabhanti formula generally in phrase and there are is variations on text and the way of orality when it is orality. There are three inheritance ways in keeping the existence of maataa tradition which are by performance, direct and inheritance of the society itself."

"ABSTRAKPenggunaan konsep "orality" merupakan sebuah terobosan yang besar karena selama ini kelisanan selalu dinilai dari sistem nilai keberaksaraan. Sebelumnya, orang yang melek huruf atau beraksara menganggap orang yang tidak beraksara sebagai buta huruf. Kondisi mereka dianggap sebagai suatu kekurangan, ketiadaan, dan kelemahan. Anggapan begitu dapat diterima dalam masyarakat yang beraksara universal. Padahal situasi dalam masyarakat yang belum tersentuh oleh tulisan sama sekali berbeda jika dibandingkan dengan masyarakat beraksara.Meski saat ini amat sulit menemukan masyarakat yang sama sekali niraksara tetapi jejak kelisanan atau orientasi kelisanan itu masih dapat kita temukan dalam masyarakat yang sudah mengenal keberaksaraan tinggi seperti surat kabar awal di Minangkabau.Kelisanan sebagai satu medium, memiliki sistem yang sama sekali berbeda dengan sistem yang terdapat dalam keberaksaraan. Kita tidak dapat mellihat keunggulan kelisanan jika kita belum berhasil menorobos hadangan keberaksaraan kita. Surat kabar terbitan awal di Minangkabau memperlihatkan adanya interaksi antara kedua medium ini melalui beberapa ciri kelisanan yang disampaikan oleh Ong dan Sweeney. Ciri-ciri kelisanan yang terdapat dalam surat kabar terbitan awal di Minangkabau inilah yang akan dibahas dalam disertasi ini.

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ABSTRACTThe use of the concept ?orality? constitutes an important break-through, because, until recently, the worth of orality has always been assessed from the point of view of literacy and its value system. In the past, people able to read and write, literates, considered those without letters to be illiterate. Their condition was defined as a deficiency, an absence, a weakness. Such a standpoint may be acceptable in a full-fledged literate society. However, in a society that has not yet been touched by literacy, the situation is totally different from that in a literate society. Even though today it is quite difficult to find a society that is without any script whatsoever, we can still find traces of orality, or of oral orientation, in societies such as Minangkabau, which are characterized by high levels of literacy.Orality as a medium represents a system that differs totally from a literate one. We cannot appreciate the forte of orality if we don?t break through the limitations of our own literacy. Using characteristics of orality as identified by scholars such as Walter Ong and Amin Sweeney, it can be shown that in the earliest newspaper publications in Minangkabau society, there was considerable interaction between orality and literacy. It is the oral characteristics in these early Minangkabau newspaper publications that will be discussed in this PhD thesis."

"[ABSTRAKTesis ini merupakan penelitian mengenai tradisi lisan Gaok di Majalengka.Penelitian ini bertujuan untuk mengungkapkan fungsi dan makna Gaok bagikehidupan masyarakat Kulur Majalengka serta proses pemertahanan Gaok yangdilakukan dalang Rukmin. Sumber data diperoleh dari data lapangan dan studipustaka. Penelitian menggunakan beberapa konsep dan teori pertunjukan tradisilisan, kelisanan, teori struktural Propp dan pengelolaan tradisi lisan.Metode penelitian menggunakan metode etnografi (salah satu pendekatanKajian Tradisi Lisan). Hasil penelitian menunjukan bahwa Gaok memiliki maknadan fungsi bagi masyarakat Kulur Majalengka. Fungsi Gaok bagi masyarakat Kulurmeliputi: fungsi hiburan, media doa, dan fungsi penjaga nilai-nilai pendidikan.Makna Gaok meliputi: Representasi nilai-nilai spiritualitas, Representasi nilaiperempuan, representasi tradisi riungan dan pesta makanan, representasi normahukum, dan representasi sejarah Majalengka.Sedangkan upaya pemertahanan dilakukan oleh dalang melalui kreativitasmembuat Giok kombinasi, mengelola sanggar, dan menyimpan wawacan. Namundemikian upaya tersebut berjalan kurang optimal karena keterbatasan kemampuandan dana yang dimiliki Rukmin serta kurangnya dukungan dari pihak eksternal yaknipemerintah dan masyarakat. Akibatnya proses transmisi dan pewarisan melaluipengajaran terhadap generasi muda tidak berjalan.

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ABSTRACTThis thesis indicated a research about Gaok 's oral tradition in Majalengka. Theresearch 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 OralTradition Study). The research result showed that Gaok had meaning and function forKulur society. The function were: entertainment,praying media, as well as forkeeping education values. The meaning of Gaok were: Representatives of spiritualvalues, Representatives of women values, Representatives of "Riungan" tradition andmeal party, Representatives of law values, Representatives of Majalengka's History.The effort to converse was done by "dalang" Rukmin through the creativity ofrrraking combination of Gaok, managing a Sanggar (club) and saving wawacan(texts.) However those efforl was not optirnal enough due to the lirnitation of abilityand fund which was owned by Rukrnin and lack of support from external sidesnamely government and society. As a result, transmission process and inheritancethrough teaching to young generation were not carried out.;This thesis indicated a research about Gaok 's oral tradition in Majalengka. Theresearch 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 OralTradition Study). The research result showed that Gaok had meaning and function forKulur society. The function were: entertainment,praying media, as well as forkeeping education values. The meaning of Gaok were: Representatives of spiritualvalues, Representatives of women values, Representatives of "Riungan" tradition andmeal party, Representatives of law values, Representatives of Majalengka's History.The effort to converse was done by "dalang" Rukmin through the creativity ofrrraking combination of Gaok, managing a Sanggar (club) and saving wawacan(texts.) However those efforl was not optirnal enough due to the lirnitation of abilityand fund which was owned by Rukrnin and lack of support from external sidesnamely government and society. As a result, transmission process and inheritancethrough teaching to young generation were not carried out., This thesis indicated a research about Gaok 's oral tradition in Majalengka. Theresearch 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 OralTradition Study). The research result showed that Gaok had meaning and function forKulur society. The function were: entertainment,praying media, as well as forkeeping education values. The meaning of Gaok were: Representatives of spiritualvalues, Representatives of women values, Representatives of "Riungan" tradition andmeal party, Representatives of law values, Representatives of Majalengka's History.The effort to converse was done by "dalang" Rukmin through the creativity ofrrraking combination of Gaok, managing a Sanggar (club) and saving wawacan(texts.) However those efforl was not optirnal enough due to the lirnitation of abilityand fund which was owned by Rukrnin and lack of support from external sidesnamely government and society. As a result, transmission process and inheritancethrough teaching to young generation were not carried out.]"

"ABSTRAKDisertasi ini ingin menunjukkan Djawi Sunda, di Cigugur, Kuningan. Sebuah komunitas Adat yang berhasil membangun keruku melalui prinsip:yang penting Melalui penelitian etnografi dan teori interaksi simbolik telah menunjukkan bahwa Seren Taun sebagai alat pengingat yang berisi tuntunan yang penuh makna simbolik dan berhasil merawat tran yang ditempuh lebih mengutamakan arti pentingnya sebuah kebebasan berkeyakinan, penegasan identitas, daripada transmisi tingkat keluarga. Kombinasi antara: resistensi dan adaptasi dalam menghadapi dominasi negara dan hegemoni agama resmi, merupakan perlawanan kultural yang paling mengesankan.

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ABSTRACTThis dissertation aims at indicating survival strategies carried out by Djawi Sunda, Cigugur, Kuningan. It is a community succeeding to establish a peaceful religious life relationship. It suggests that the members have tolerance (sepengertian ethnographic research and symbolic interaction have indicated as a mnemonic device meanings?and a creative performance has worked to mai transmission. The strategy emphasizes more on faith freedom and identity insistence in public than in family. The combination of resistance and adaptation to cope with state domination and formal religious hegemony works impressively."

"Tesis ini merupakan penelitian mengenai pewarisan tradisi lisan kabhanti gambusu pada masyarakat Muna. Penelitian ini bertujuan untuk mengungkapkan model pewarisan kabhanti gambusu pada masyarakat Muna sekarang ini. Sumber data diperoleh dari data lapangan dan studi pustaka. Penelitian menggunakan beberapa konsep dan teori pewarisan, formula, kelisanan, pertunjukan, dan penciptaan tradisi lisan. Metode penelitian menggunakan metode etnografi (salah satu pendekatan Kajian Tradisi Lisan). Dengan pendekatan etnografi, pengetahuan tentang sosial budaya masyarakat setempat dan pewarisan kabhanti gambusu kepada generasi muda dapat diungkapkan. Hasil penelitian menunjukan bahwa model baru pewarisan kabhanti gambusu pada masyarakat Muna sekarang ini dilakukan secara formal dan non formal. Secara formal dilakukan oleh pemerintah kabupaten Muna melalui kurikulum muatan lokal, namun tidak berjalan dengan baik. Sementara pewarisan non formal melalui pertunjukan, keluarga, sanggar dan industri rekaman yang dilakukan sendiri oleh masyarakat setempat dapat berjalan dengan baik.

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This thesis is a research about the inheritance of kabhanti gambusu tradition in Munanese people. This research aims at expressing a model of the kabhanti gambusu inheritance in Munanese society nowadays. Data sources are obtained from field and literary data. It uses some concepts and theories of inheritance, formula, orality, performance, and creation or composition of oral tradition. Research method uses ethnography method (one of Oral Tradition Study Approach). By ethnography approach, the knowledge of local socio-culture of the society and the inheritance of kabhanti gambusu to the young generation can be expressed.

The result of research shows that a new model of the kabhanti gambusu inheritance in Munanese people nowadays are done formally and non formally. Formally, it is done by the government of Muna regency through Local Load Curriculm, but does not run well. Whereas, non formal through performance, family, practising-place, and recording-industry done by local society themselves can also run well."

"Tesis ini merupakan penelitian yang terfokus pada pola formula dan pewarisan tradisi lisan kabhanti modero pada masyarakat Muna di Sulawesi Tenggara. Penelitian ini bertujuan untuk memperlihatkan pola formula dan pola pewarisan yang ada dalam kabhanti modero pada masyarakat Muna dewasa ini. Sumber data diperoleh dari data lapangan dan data pustaka. Dalam penelitian ini, beberapa konsep dan teori yang digunakan adalah tradisi lisan, tradisi, formula, teori pewarisan, kelisanan, konteks pertunjukan, dan penciptaan tradisi lisan. Metode penelitian yang digunakan dalam penelitian ini adalah metode etnografi (salah satu pendekatan Kajian Tradisi Lisan). Dengan pendekatan etnografi, pengetahuan masyarakat setempat tentang pola formula dan pewarisan kabhanti modero kepada generasi muda dapat diungkapkan.Hasil penelitian menunjukkan bahwa pola formula yang digunakan dalam tradisi lisan kabhanti modero berbentuk kata, sebagian kata, frasa, dan satu larik. Sementara, pola pewarisan kabhanti modero pada masyarakat Muna sekarang ini masih dilakukan secara non formal. Pewarisan non formal dilakukan dengan secara langsung, dalam keluarga, dan dalam pertunjukan. Pewarisan melalui industrI rekaman dengan pembuatan kaset VCD atau DVD belum dilaksanakan dalam kabhanti modero. Sementara, pola pewarisan secara formal tentang kabhanti modero belum dilaksanakan oleh pemerintah kabupaten Muna melalui kurikulum muatan lokal atau pelajaran Seni Budaya.

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This thesis is a research which focuses on patterns of formula and inheritance of kabhanti modero oral tradition In Munanese people in South-East Sulawesi. This research aims at showing the patterns of formula and inheritance used in kabhanti modero in Munanese society nowadays. Data resources are obtained from field and literature data. In this research, some concepts and theories used are oral tradition, tradition, formula, inheritance, performing context, orality, and the creating or composing of oral tradition. Research method employed in this research is ethnographical method. By ethnographical approach, local society's knowledge about the formula and inheritance patterns of kabhanti modero oral tradition can be shown.The findings of this research shows that the patterns of formula employed in this research are word, partly word, phrase, and one line. Whereas, the patterns of inheritance of kabhanti modero in Munanese people still use non formal inheritance. Formal inheritance about kabhanti modero has not been conducted by the government of Muna Regency through Local Load Curriculum or Cultural Arts Subject. Non formal inheritance is done through direct inheritance, inheritance in the family, and inheritance in the performance. The inheritance through recording industry in the form of CVD or DVD cassettes has not been conducted in kabhanti modero yet. Whereas, formal inheritance of kabhanti modero has not been carried out by the government of Muna Regency through Local Load Curriculum or Cultural Art Subject especially the learning of kabhanti modero."

"Novel Di Bawah Lindungan Kabah karya Hamka merupakan novel yang sangat populer. Kepopuleran novel Di Bawah Lindungan Kabah menyebabkan banyaknya apresiasi terhadap novel tersebut. Salah satu bentuk apresiasi terhadap novel tersebut adalah alih wahana dari novel ke film. Namun demikian, perubahan media penyampaian cerita dari novel menjadi film mengakibatkan adanya perubahan cerita. Sehingga penulis tertarik untuk menganalisis hal tersebut dengan cara membandingkan novel dan film Di Bawah Lindungan Kabah melalui karakterisasinya dengan menggunakan pendekatan kelisanan dan keberaksaraan Walter J. Ong. Metode penelitian tersebut adalah metode pustaka, menyimak, dan mencatat. Hasil penelitian menunjukkan bahwa terdapat persamaan dan perbedaan dalam karakterisasi novel dan film Di Bawah Lindungan Kabah. Persamaannya terdapat pada namanama tokoh ceritanya, sedangkan perbedaannya terdapat dalam penggambaran watak tokoh cerita. Perbedaan tersebut disebabkan media yang digunakan untuk menyampaikan cerita memiliki ciriciri yang berbeda sehingga berpengaruh terhadap cerita yang disampaikannya."