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E. Aminudin Aziz
"Penelitian ini, secara umum, ditujukan untuk mengetahui persepsi masyarakat Cina moderen terhadap konsep tradisional Confucianism tentang wajah (lian atau mianzi). Secara khusus, penelitian ini mengungkap bagaimana persepsi tersebut tercermin dalam pola komunikasi antarpersonal mereka. 100 orang Shanghai terlibat dalam penelitian ini, 50 orang diambil dari daerah perkotaan dan 50 orang dari pedesaan. Mereka merepresentasikan berbagai latar belakang sosial yang berbeda, meliputi usia, jenis kelamin, tempat tinggal, dan pekerjaan. Data penelitian dikumpulkan melalui wawancara semi-terstruktur, kemudian dianalisis dengan menggunakan kerangka ajaran Confucianism tentang sifat-sifat yang mendasari konsep wajah. Sifat-sifat itu meliputi relasional, komunal/sosial, hirarkis, dan moral.
Analisis data menunjukan bahwa dalam keseluruhan interaksi berbahasanya, para responden sangat memperhatikan nilai-nilai yang terkandung dalam konsep wajah seperti terkandung dalam Confucianism. Diketahui bahwa dari keempat sifat wajah itu, integritas moral de menjadi acuan paling penting untuk menilai apakah seseorang itu masih memiliki wajah atau justru sebaliknya. Hilangnya moralitas berarti hilangnya sifat-sifat manusiawi pada seseorang.

This study aims to investigate the Chinese perceptions about the traditional Confucius concepts mianzi/lian ?face? in the context of the world that is changing. In particular, the study focuses on how such perceptions are reflected in their interpersonal communication. Data was collected through direct semi-structured interviews with the respondents, guided by a set of questions regarding the situations they might hypothetically find themselves. Shanghai was chosen as the site for this study because, among other places in China, it has undergone considerable changes. 100 Shanghainese were involved in the study; 50 were city dwellers and 50 villagers, representing their various social backgrounds. The data were analysed by using the Chinese cultural notions underlying the concepts of face: relational, communal, hierarchical, and moral. Analyses show that the respondents often avoid conflicts with their interlocutors, even if they were put in very unfortunate circumstances. These face-favouring acts are indicative of their closed observance of the norms and hence the concepts of face, by which they could gain, maintain, and enhance their own face. In return, they would be regarded as members of the society with polite behaviours and with other good moral characters.
The study concludes that although China is changing, the conceptions and practices of the traditional concepts mianzi/lian "face" among Chinese have remained constant. This is because into these concepts are attached the most basic concepts of humanity; the absence of the concepts of face in the mind of human beings can mean the loss of humanity as a whole."
Bandung: Indonesia University of Education. Faculty of Language and Art Education, 2005
AJ-Pdf
Artikel Jurnal  Universitas Indonesia Library
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Ida Ayu Astuti
"The story of Dr Baey Lian Peck should be well known, but it is not. Not even among Singaporeans, and especially not among the young. This tells us a lot about a Singapore caught in pathological haste and prone towards ignoring values that do not add to the financial bottom line. The innovativeness of Dr Baey did not only make him a very wealthy man before he was forty, it also made him an indispensable actor in the implementation of urgently constructed national policies. Political leaders such as Dr Toh Chin Chye, Lim Kim San, Chua Sian Chin and Dr Goh Keng Swee picked him to solve pressing problems such as skyrocketing inflation in the early 1970s, the crisis in prisoner ward in the late 1970s, and the drug addiction epidemic in that same latter period. His one condition for taking on public positions was that he should not be paid. It was exactly this independent trait that made him so highly effective."
Singapore: Institute of South East Asia Studies, 2013
e20442266
eBooks  Universitas Indonesia Library
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An Nisaa Syefira Sal Sabila
"ABSTRAK
Jurnal ini membahas tentang salah satu lukisan Tahun Baru Cina yaitu Lukisan Yángliǔqīng. Lukisan ini adalah salah satu lukisan kayu Tahun Baru Cina yang berasal dari Tianjin. Lukisan ini memiliki figur-figur, seperti anak laki-laki, ikan, dan bunga teratai. Selain itu, lukisan ini juga memiliki tema Lián Nián Yǒu Yú. Tujuan penelitian ini yaitu memaparkan sejarah legenda munculnya Lukisan Yángliǔqīng, mendeskripsikan makna simbolik figur dalam Lukisan Yángliǔqīng menurut budaya masyarakat Cina, serta menjelaskan makna Yú Yǒu Nián Lián
yang tergambarkan pada Lukisan Yángliǔqīng. Hasil penelitian menunjukkan bahwa para figur berperan penting dalam menyampaikan makna keberuntungan, sedangkan Yú Yǒu Nián Lián sebagai tema Lukisan Yángliǔqīng berperan penting dalam menyatakan makna Lián Nián Yǒu Yú. Metode yang diterapkan dalam penulisan jurnal ini adalah metode penelitian kualitatif yang
menggunakan studi kepustakaan. Melalui penelitian ini pembaca diharapkan dapat memahami makna simbolisme figur anak laki-laki, ikan, dan bunga teratai. Juga, dapat memahami makna Yú Yǒu Nián Lián yang tergambarkan pada Lukisan Yángliǔqīng yang bertema Lián Nián Yǒu Yú.

ABSTRACT
This journal discusses one of the Chinese New Year paintings, the Yángliǔqīng Painting. Yángliǔqīng Painting is one of the Chinese New Year wooden paintings from Tianjin. The painting has particular figures, such as boys, fish, and lotus flowers, and is Lián Nián Yǒu Yúthemed. The purpose of this study are to explain the historical legend of the emergence of Yángliǔqīng Painting, to describe the symbolic meaning of figures in Yángliǔqīng Painting in accordance to Chinese culture, and to explain the meaning of Yú Yǒu Nián Lián depicted in the Yángliǔqīng Painting. The results showed that the figures play an important role in conveying the meaning of luck, while Yú Yǒu Nián Lián as the theme of the Yángliǔqīng Painting plays an important role in expressing the meaning of Lián Nián Yǒu Yú. The method applied in writing this journal is qualitative research method based on library study. Through this research the reader is expected to be able to understand the symbolic meaning of boys, fish, and lotus flowers figures, while also able to understand the meaning of Yú Yǒu Nián Lián which is depicted in the Lián Nián Yǒu Yú-themed Yángliǔqīng Painting."
Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia, 2019
MK-Pdf
UI - Makalah dan Kertas Kerja  Universitas Indonesia Library