WAWACAN SIMBAR KANCANA NGADEG RAJA KANA NASKAH CARITA TEATER GAOK (Kajian Struktural dan Transformasi)

LOKABASA ◽  
2016 ◽  
Vol 7 (2) ◽  
pp. 145
Author(s):  
Muhammad Naoval
Keyword(s):  
Human Life ◽  
Narrative Structure ◽  
Local History ◽  
Future Generations ◽  
The Public ◽  
Narrative Structures ◽  
Written Form ◽  
Third Person ◽  
The Third Person ◽  
Descriptive Method

Sekarang ini wawacan sudah kurang dikenal lagi oleh masyarakat, karena kurangnya media informasi yang bisa memperkenalkan sastra lama kepada masyarakat. Selain itu orang yang bisa membaca dan yang mempunyai buku wawacanpun terbatas, karena tidak semua masyarakat mempunyai wawacan. Padahal banyak nilai-nilai dan filsafat hidup manusia yang terkandung didalamnya. Tujuan penelitian ini yaitu agar dapat mengetahui nilai-nilai yang terkandung dalam wawacan, juga agar eksistensi sastra dalam bentuk tulisan tetap ada untuk diwariskan ke generasi yang akan datang. Adapun analisis yang dilakukan meliputi: (1) struktur naratif Wawacan Simbar Kancana Ngadeg Raja, (2) struktur naskah cerita teater gaok, dan (3) transformasi struktur Wawacan Simbar Kancana Ngadeg Raja pada naskah cerita teater gaok. Untuk mencapai tujuan tersebut, penelitian ini menggunakan pendekatan kualitatif, metode deskriptif, dan teknik yang digunakan adalah studi pustaka. Berdasarkan pada hasil penelitian mengenai struktur, tema yang terdapat dalam Wawacan Simbar Kancana Ngadeg Raja adalah tema perjuangan. Pelakunya yaitu protagonis dan antagonis. Alurnya adalah alur maju. Latar tempat yang ditemukan yaitu di Kerajaan Talaga, Gunung Bitung, dan hutan. Sudut pandang dalam Wawacan Simbar Kancana Ngadeg Raja adalah pengarang jadi orang ketiga tidak terbatas, artinya pengarang bisa menjadi semua karakter dan menempatkan dirinya sebagai orang ketiga. Struktur naskah cerita teater gaok, tidak beda jauh dengan struktur naratif, dalam Wawacan Simbar Kancana Ngadeg Raja. Dari seluruh analisis struktur naratif, baik wawacan maupun naskah cerita teater gaok terdapat perbedaan, terutama pada alur cerita. Setelah dianalisis, Wawacan Simbar Kancana Ngadeg Raja kana Naskah Carita Teater Gaok bisa jadi media untuk melestarikan sejarah dan budaya lokal, oleh karena itu masyarakat akan lebih mengenal tentang sejarah lokal sebagai warisan budaya. ABSTRACTNowadays, wawacan is no longer known by the public due to the lack of media and information that could introduce old literature to the public. In addition, despite many values and philosophy of human life contained, neither all people can read nor have books of wawacan. The purpose of this study is to be aware of the values contained in wawacan, as well as for the existence of literature in written form remains to be passed on to the future generations. The analysis performed include: (1) the narrative structure Wawacan Simbar Kancana Ngadeg Raja, (2) the structure of gaok theater script, and (3) the transformation of the structure of Wawacan Simbar Kancana Ngadeg Raja in gaok theater script. To achieve these objectives, this study used a qualitative approach, descriptive method, and the techniques used are literature studies. Based on the results of research on the structure, themes contained in Wawacan Simbar Kancana Ngadeg Raja is the theme of the struggle. Players are protagonist and antagonist with chlorogonical plot used as its plot setting. Background places are found to be in the Kingdom Talaga, Gunung Bitung, and forests. To explain further, viewpoints used in Wawacan Simbar Kancana Ngadeg Raja is the author becomes the unlimited third person. It means that the author can be all the characters and putting himself in the third person. Moreover, the structure of gaok theater script are not much different from the narrative structure in Wawacan Simbar Kancana Ngadeg Raja. Analysis on narrative structures of wawacan and gaok theater script shows that there is a difference between them, especially in the storyline. Therefore, Wawacan Simbar Kancana Ngadeg Raja into gaok theatre script could be a means of preserving local history and culture so that the public will get to know about the local history as a cultural heritage. 

scholarly journals VARIASI JARGON DALAM SUATU KOMUNITAS WARIA DI SALON RETHAH WILAYAH PONDOK BENDA

2021 ◽  
Vol 2 (1) ◽  
Author(s):  
Amanda Rizky Amalia ◽  
Antika Suri Tauladan ◽  
Fani Aulia Sari
Keyword(s):  
Data Analysis ◽  
Data Collection ◽  
Human Life ◽  
Transgender Women ◽  
Research Data ◽  
The Public ◽  
Qualitative Descriptive ◽  
The Subject ◽  
Data Collection Technique ◽  
Descriptive Method

Language has an important role in everyday human life in society. Jargon is a kind of language that is only used by certain communities as daily communication among its members. The jargon used by the transgender community is very interesting to understand because the jargon has its own form and meaning in its disclosure and can find out how the variety of jargon-shaped language used by transgenders in hiding their secrets so as not to be known by the public. It is evident that not all users of other languages understand the jargon. In this study, the researchers analyzed the jargon used by the waria community in the salon. This study aims to determine the jargon and describe and understand the meaning of the jargon used by the transgender community in interacting orally. The source of the research data was obtained from the subject, namely the transgender women who worked at the Retah salon in Pamulang, who used jargon in their daily communication with transgender women and sometimes with their customers. The method used in this study is a qualitative descriptive method, which describes and conveys data objectively. Describe the jargon terms of transgender language as the object of research. The data collection technique used is observation or see and note. The result of this research is the jargon used by waria in the form of transgender language vocabulary. Based on the results of the data analysis, it was found that 20 pieces of jargon used by transgender women in the salon were akika, rapose, capcus, endang gurindang, ink, sekong, belenjong, cucok, metong, hamidah, lekong, sapose, capcay, begindang, bala-bala, sindang. , lambreta, grasshopper, mesong, and mursida.Keywords: Waria, Jargon, Vocabulary

scholarly journals The Analysis of Deixis in the Novel The Fault In Our Stars by John Green

HUMANIS ◽  
2018 ◽  
pp. 697
Author(s):  
Artika Putri ◽  
Made Budiarsa ◽  
I Gede Putu Sudana
Keyword(s):  
First Person ◽  
The Novel ◽  
Second Person ◽  
Speech Event ◽  
Language Structure ◽  
Observation Methods ◽  
Spatial Deixis ◽  
Third Person ◽  
The Third Person ◽  
Descriptive Method

This research  entitled The Analysis of Deixis in The Novel The Fault in Our Stars by John Green. Deixis is a study to describe the relation between language and contexts in language structure itself. The objectives of this study are (1) to find out and identify types of deixis in the novel The Fault in Our Stars (2) to analyze the function of each deixis type found in the novel The Fault in Our Stars. The data were collected using documentation and observation methods using the reading and note taking techniwques. Qualitative method was used to analyze the data and the method were done by descriptive technique. The method of presenting the result of data analysis was the descriptive method and was done by argumentative technique. The result of the research shows that there are three types of deixis found in the novel The Fault in Our Stars by John Green, namely person deixis, spatial deixis and temporal deixis. Person deixis consists of first person, second person and third person. The first person deixis is used to identify the speaker. The second person deixis is used to show the addressee. The third person deixis is used to show the referent not identified as the speaker or the addressee. The spatial deixis is used to describe a location participant in speech event. Temporal deixis is used to point a certain period of time.

THE NARRATIVE STRUCTURE OF P. VEZHINOV’S NOVELLA “THE BARRIER”

2021 ◽  
Vol 63 (4) ◽  
pp. 359-369
Author(s):  
Galina Petrova ◽  
Keyword(s):  
Narrative Structure ◽  
The Third ◽  
Third Person ◽  
The Third Person

This article analyzes and compares two types of Bulgarian reflexivedative constructions with optative meaning: bi-clausal (Иска ми се да танцувам ‘I wish to dance’) and monoclausal (Танцува ми се ‘I feel like dancing’). It presents the structural and semantic specificity of these constructions as well as the possibilities and constrains for their use. Both structures are distinguished by the presence of a verb in the third person, the reflexive particle се and an obligatory dative clitic expressing an experiencer argument. The bi-clausal constructions are viewed as resulting from optative diathesis: аз искам да ‘I want to’ → иска ми се да ‘I wish to’. The monoclausal constructions are viewed as resulting from a further transformation: Иска ми се да танцувам → Танцува ми се. The semantic specialization of the monoclausal constructions is to express a desire for something based on an internal need (primary or secondary). The dative argument is understood as a ‘feel like/experiencer’ subject of the denoted event.

scholarly journals An inclusive model suggestion in audio-visual media design in sampling of public ads: Is accessible media possible?

2020 ◽  
Vol 17 (1) ◽  
pp. 246-271
Author(s):  
Arzu Çelen Özer ◽  
Başak Kalkan ◽  
Gülfem Gürses
Keyword(s):  
Narrative Analysis ◽  
Narrative Structure ◽  
Disabled Persons ◽  
Visual Media ◽  
English Summary ◽  
The Public ◽  
Narrative Structures ◽  
Audio Description ◽  
Spatio Temporal ◽  
Visual Materials

Instructive and informative contents of the Public Service Announcements (PSAs) need to reach to all segments of the society.  Within this framework, the purpose of the research is to explain the importance of the narrative structure in the sight-disabled persons' access to the PSAs in terms of the up-to-date audio description criteria. In the study, the characters and the functions thereof in the narration have been reviewed within the frame of Labov & Riesmann's narrative analysis constituents, and answer has been sought to the question, "Are the spatio-temporal  constituents, motions, and the visual materials that depict the actions in connection with character definitions put into words for the sight-disabled persons?", by way of narrative analysis. While the 6 "Be Prepared for the Disasters!" PSAs are analyzed in terms of their narrative structures, the questions, "Who are the persons in the narrative? What are their functions in the narrative? What do these persons do in the narrative? Why do they do these things? What are the outcomes of them?" are required to be responded by six different experts serving in the fields of visual communication, audio-visual translation, and narrative communication, other than the researchers. As a result of the research, it has been determined that, the PSAs are not designed as being suitable for the access of the sight-disabled persons, and two model proposals have been introduced at the end of the research by way of taking inclusive design criteria other than the conventional audio description criteria into consideration. ​Extended English summary is in the end of Full Text PDF (TURKISH) file.   Özet Kamu spotlarının, eğitici, bilgilendirici içerikleri ile toplumun tüm kesimlerine ulaşması gerekmektedir.  Bu çerçevede araştırmanın amacı, görme engelli bireylerin kamu spotlarına erişiminde anlatı yapısının önemini güncel sesli betimleme kriterleri çerçevesinde belirtmektir. Anlatıdaki karakterlerin ve işlevlerinin ne olduğu, Labov ve Riesmann’ın anlatı analizi bileşenleri çerçevesinde incelenmiş ve “Kamu spotunda anlatı oluşturulurken mekânsal-zamansal bileşenler, hareketler, karakter tanımlarıyla bağlantılı fiilleri betimleyen görsel materyaller, görme engelli bireyler için kelimelere aktarılmakta mıdır?” sorusuna anlatı analizi ile yanıt aranmıştır. İncelenen altı “Afetlere Hazırlıklı Ol!” kamu spotu, anlatı yapısı çözümlenirken “anlatıdaki kişiler kimler, bu kişilerin, anlatıdaki işlevi nedir, bu kişiler, anlatıda ne yapıyorlar, niçin yapıyorlar ve sonuçlar ne?” sorularına araştırmacılar dışında görsel iletişim, görsel- işitsel çeviri ve yazınsal iletişim alanında çalışan altı farklı uzmandan cevaplaması istenmiştir. Araştırma sonucunda, kamu spotlarının görme engelli bireylerin erişimine uygun olarak tasarlanmadığı tespit edilmiş, geleneksel sesli betimleme kriterlerinin dışında kapsayıcı tasarım kriterleri dikkate alınarak iki model önerisi araştırma sonunda sunulmuştur.

scholarly journals Interactional Metadiscourse used in Bloomberg International Debate

2020 ◽  
Vol 1 (1) ◽  
pp. 13-20
Author(s):  
Riski Istiani ◽  
Dian Puspita
Keyword(s):  
Critical Thinking ◽  
International Debate ◽  
The Third ◽  
Third Person ◽  
The One ◽  
The Third Person ◽  
Descriptive Method

In delivering an argument, several things must be known, such as the theme, the purpose, and the content of the argument in a debate. Since debate demands critical thinking, debaters need to consider their words’ choice in delivering their argument. In that case, this research aims to analyze the uses of interactional metadiscourse markers that are applied in the Bloomberg International Debate. In doing the analysis, the writers used the descriptive method and proposed Hyland’s theory (2005). As the result of the research, it shows that the most speaker who is producing interactional metadiscourse markers is Ella Cox, followed by John Allan and then Ndidie Okezie and finally Auday and Rus Ma. Although there are three speakers in each team (both proposition and opposition), it seems that the third person on each team only as support and the one who then summarizes the result of the debate for each team. Further, related to the uses of interactional metadiscourse, the most used of the interactional dimension markers is self-mention, followed by booster, hedges, and booster.Keywords: Bloomberg, critical thinking, debate, interactional metadiscourse, metadiscourse markers

scholarly journals Anlatı İçinde Anlatı: “Into The Woods (Sihirli Orman)” Filminin Peri Masalı Anlatıları İçindeki Gezintisi

Etkileşim ◽  
2021 ◽  
Vol 4 (7) ◽  
pp. 128-149
Author(s):  
Mustafa Algül
Keyword(s):  
Fairy Tales ◽  
Oral Tradition ◽  
Narrative Structure ◽  
Visual Narratives ◽  
Narrative Structures ◽  
The Status ◽  
Cinematic Narratives ◽  
Written Form ◽  
Oral Expression ◽  
The One

Myths, epics, and tales have survived for centuries in the oral expression tradition and have been permanently transcribed from oral tradition into written form. They are the most frequently recreated narratives in the cinema with their fantastic narrative structures. Hollywood cinema has been using tales as visual narratives for years. Tales, which have been turned into a structure open to the interpretation in accordance with the changing world, on the one hand is being reediting continuously. On the other hand, they gain new appearances along with intertwined narrative structures. In Into the Woods (Rob Marshall, 2014), four different fairy tales were used together. In this study, it is aimed to determine what kind of changes has been carried out in the film in terms of the different stages of the fairy tales. For this purpose, while collecting the data by examining the narrative structure of the fairy tales, the action areas are identified in terms of the “five components” in the Greimas’ ‘canonical narrative’. Briefly, the main object in this paper is to explicate the status of the film within the types of the cinematic narratives.

scholarly journals A Structural Postcolonial Analysis of Voice and Noise in Joseph Conrad's The Lagoon

2020 ◽  
Author(s):  
Hussein Zeidanin
Keyword(s):  
Ethnic Identity ◽  
Power Structure ◽  
Narrative Structure ◽  
Structure And Function ◽  
The Third ◽  
Third Person ◽  
And Function ◽  
The Impact ◽  
The Third Person ◽  
The Voice

This article explores the motifs of voice and noise in Joseph Conrad's The Lagoon from a structural postcolonial perspective. The dialectic relations between voice and power, structure, and function are critically investigated to identify the ideologies involved in the subjugation of the Orient and sustainment of the racial superiority of the Occident. The noise narrative structure and ethnic conflict add to voice disrupts the effective reception of the message conveyed. The Lagoon encapsulates a story-within-a-story with two storytellers relating different narratives and addressing different characters and audiences from different viewpoints. Their narratives elicit responses ranging from trust to distrust depending on the identity of the storyteller and hierarchy of the narrative structure within the story. The study evaluates the impact of structure and ethnic identity on the reception of voice, and shows how structural and cultural noises disrupt the voice of the Orient. It finds that the Occident's perception of the Orient is based on certain stereotypes and misconceptions. The voice of Arsat, a protagonist and storyteller, is accordingly subordinated to the framing voice of the third-person narrator, and his tale structurally functions as a flashback.

Salman Rushdie’s Authorial Self-fashioning in Joseph Anton

2017 ◽  
Vol 52 (3) ◽  
pp. 519-533 ◽  
Author(s):  
Charlie Wesley
Keyword(s):  
Mass Media ◽  
First Century ◽  
Public Attention ◽  
Deep Roots ◽  
The Public ◽  
The Third ◽  
Third Person ◽  
The Media ◽  
Twenty First Century ◽  
The Third Person

This article examines some of the highlights, limitations, and contradictions of Rushdie’s authorial personas that have been perpetuated and challenged by his critics and the mass media. I argue that Joseph Anton, published in 2012, exhibits evidence of Rushdie’s attempt at authorial self-fashioning, and therefore the memoir represents an important part of his effort to shape the public narrative about him. Joseph Anton highlights Rushdie’s exilic persona through direct comparisons to figures like Voltaire and Galileo, and attempts to privilege this position above his other authorial selves. This authorial self has deep roots in a narrative fashioned by Rushdie that has been abetted by some of his critics and the media since the fatwa. My essay critiques this emphasis, suggesting that Rushdie’s self-fashioning is out of step with his twenty-first-century political ideals and affiliations. Ultimately, the third-person “distancing” of the memoir helps to highlight what it seeks to mitigate: a plurality of Rushdie’s competing for public attention.

Effects of Light-Hearted and Serious Entertainment on Enjoyment of the First and Third Person

2016 ◽  
Vol 28 (1) ◽  
pp. 42-48 ◽  
Author(s):  
Matthias Hofer
Keyword(s):  
Young People ◽  
Media Consumption ◽  
First Person ◽  
Online Experiment ◽  
Entertainment Media ◽  
Third Person Effect ◽  
The Third ◽  
Third Person ◽  
Perceived Enjoyment ◽  
The Third Person

Abstract. This was a study on the perceived enjoyment of different movie genres. In an online experiment, 176 students were randomly divided into two groups (n = 88) and asked to estimate how much they, their closest friends, and young people in general enjoyed either serious or light-hearted movies. These self–other differences in perceived enjoyment of serious or light-hearted movies were also assessed as a function of differing individual motivations underlying entertainment media consumption. The results showed a clear third-person effect for light-hearted movies and a first-person effect for serious movies. The third-person effect for light-hearted movies was moderated by level of hedonic motivation, as participants with high hedonic motivations did not perceive their own and others’ enjoyment of light-hearted films differently. However, eudaimonic motivations did not moderate first-person perceptions in the case of serious films.

Russian Accounting Standard (PBU) 18/02: Principles on the balance method use

2020 ◽  
Vol 23 (12) ◽  
pp. 1356-1382
Author(s):  
E.V. Olomskaya ◽  
A.A. Aksent'ev
Keyword(s):  
Balance Method ◽  
Deferred Taxes ◽  
Accounting Standard ◽  
Scientific Methods ◽  
The Public ◽  
General Scientific ◽  
The Impact ◽  
Original Approach ◽  
Descriptive Method ◽  
Tax Accounting

Subject. This article discusses the methodological features of Russian Accounting Standard (PBU) 18/02 Income Tax Accounting when using the balance method to account for deferred taxes. It considers whether the clarification of permanent tax differences is justified, and it analyzes in detail the features of accounting for temporary differences and offers a visual and descriptive method for determining and correlating them in accounts. Objectives. The article aims to justify the reason for linking permanent tax differences to such accounting categories as Income and Expenses. It also aims to develop a methodological toolkit that simplifies the perception of the balance method and demonstrates the procedure for determining temporary differences. Methods. For the study, we used the methods of analysis, synthesis, observation, comparison, and other general scientific methods. Results. The article justifies the clarification of permanent differences from the position of accounting categories. It offers an original approach that helps visually classify temporary differences. The formalization of the balance method helped identify the logic of its reflection in accounting statements. Conclusions and Relevance. To ensure that accounting is not distorted due to the impact of taxation, it is necessary to develop a unified conceptual framework, as well as develop existing methods and introduce new ones that do not contradict the public concept of interaction between accounting and tax accounting. The research results are intended for training, scientific and practical activities of specialists in the field of accounting and audit, as well as students studying under this program, in order to study the features of applying the balance method for accounting for deferred taxes.

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