scholarly journals The Stylistics of Al-qu’ran: The Symbolic Meaning and Function of the Art of Reading Al-qur’an on the Context of Communication

2018 ◽  
Vol 3 (2) ◽  
pp. 235-252
Author(s):  
Musta'in Musta'in

The study the stylistics of the Qur'an cannot be separated from the concept of i'jaz al-Quran as a form of uniqueness and privilege of the language of Qur'an. When Qur'an was delivered to the Arab society, they had used high language and literature. By the emergence of the art of reading the Quran (nagham al-Quran) around the world, and it is believed as one of the forms of appreciation of the Qoran, Muslims in Indonesia receive and appreciate it with pleasure. The Musabaqoh Tilawatil Quran (MTQ), whish is held by the governments and non-governmental institutions of all levels, has been carried out on a regular and continuous basis. As a religious text, the Qur'an has a very high literary dimension. The Quran also has some aesthetic and musical-messaging dimensions. This paper attempts to discuss the stylistic styles of language in the aspects of the art of reading the Qoran with a single voice, without the accompaniment of musical instruments, and unrelated to musical tone. This is specifically used for tazyin al-Saut bi tilawah al-Quran. The approach used in this study is Al-Uslub al-Adabi or Literary Stilistica, which focuses on the level of persistence or phonology, which includes phonetics and phonemics. Phonetics is divided into three parts, namely; articulatory phonetic, acoustic phonetics, and auditory phonetics. The discussion on literary stylistics is cannot be separated from emotional aspects, not logical aspects. The analysis of literary stylistics in the art of reading al-Quran (nagham al-Quran) produces the effect of the reader's feelings, sensational feelings and spiritual feeling. Spiritual feeling is divided into religious, ethical, aesthetic, intellectual, social, and personal feeling. Meanwhile, in the aspects of communication generate understanding and scientific knowledge about the principles of transcendent communication, the principle of spiritual communication, the principle of human communication, and finally lead to the Principle of Quranic Communication.

2019 ◽  
Vol 8 (2) ◽  
pp. 93
Author(s):  
Ummi Afifah ◽  
Harris Effendi Thahar ◽  
Emidar Emidar

ABSTRACTThe purpose of this research is to describe the type of language style based on sentence structure and based on whether or not the meaning and function of the language style contained in the anthology of the “Cermin Waktu” short story by Indonesian Language and Literature Education Students 2011 Faculty of Language and Art, State University of Padang. The method used is descriptive. The approach in this research is the stylistic. Based on the research conducted the type of language style based on sentence structure found 4 types of language style, namely climax, anticlimax, repetition, and antithesis. The type of language style is based on whether or not direct meaning is of two kinds, namely rhetorical  and the style of figurative language. The rhetorical style of the language is found in 7 types of language styles, namely apostrophes, asindenton, polisindenton, euphemism, pleonasm, rhetorical questions, and hyperbole. The figurative language style is found in 4 types of language styles, namely equality, metaphor, personification, and cynicism and sarcasm. The language style function contained in the anthology of the “Cermin Waktu” short story is found in 5 types of language style function, namely concreting 25 speeches, asserting 88 utterances, beautifying 24 speeches, smoothing 2 speeches, and insinuating 4 speeches.  Kata Kunci: Gaya bahasa, Fungsi, Jenis


Author(s):  
Orsolya Száraz

The Institute of Hungarian Literary and Cultural Studies at the University of Debrecen formed a research group in 2010 in order to launch the research of Hungarian realms of memory. This paper was written within the frameworks of the research group. Its basic hypothesis is that the identification of Hungary as the Bastion of Christendom is an established part of Hungarian collective memory. This paper attempts to demonstrate the changes of this realm of memory, regarding its meaning and function, from its formation up to the present day.


Author(s):  
La Ode Sidu ◽  
La Ino ◽  
Nirmalasari

The article titled “Demonstrative Nouns of ini and aini in Muna Language.” The purpose of this article is to analyze the form, meaning, and function of ini and aini in Muna language. The method used is descriptive qualitative with distributional technique. This method is used to describe and analyze the form, meaning, and function of ini and aini. The results of the analysis found that the form of ini is a base or monomorpheme, while the form of aini is a derivative or polymorpheme which consists of morpheme a- and morpheme aini. In construction of phrase, clause, or sentence generally have the same meaning, namely ‘this’. For instance, O lambu ini damasoe and lambu aini damasoe the meaning is ‘The house will be sold.’ However, when it’s examined more closely, both forms of demonstrative ini and aini in distributional are not interchangeable. For instance, *O lambu aini damasoe dan *Lambu ini damasoe. Both of constructions are ungrammatical caused by form ini has a meaning ‘this’, while form aini means ‘which this’. The bound morpheme a- in aini has a function as a noun marker which pointed in article ini called relative noun marker. Thus, demonstrative aini can stand alone as a minor sentence in the answer sentence, e.g., Question: Hamai bokuku kabasa? ‘Where is my reading book?’ Answer: Aini! ‘This’ < (Here is it!). Demonstrative aini when substituted with ini, the construction became ungrammatical, e.g., Question: Hamai bokuku kabasa? ‘Where is my reading book?’ Answer: *ini. Hereafter, the form ini cannot be formed in more complexes, whereas the form aini can be formed again with another bound morpheme, such as: ainihakanau ‘This is me’, ainihako ‘This is you’, ainihakoomu ‘These are you’, ainihae ‘This is he’, ainihada ‘These are they’, and ainihakasami ‘These are we’.


Author(s):  
Erik Gray

Love begets poetry; poetry begets love. These two propositions have seemed evident to thinkers and poets across the Western literary tradition. Plato writes that “anyone that love touches instantly becomes a poet.” And even today, when poetry has largely disappeared from the mainstream of popular culture, it retains its romantic associations. But why should this be so—what are the connections between poetry and erotic love that lead us to associate them so strongly with one another? An examination of different theories of both love and poetry across the centuries reveals that the connection between them is not merely an accident of cultural history—the result of our having grown up hearing, or hearing about, love poetry—but something more intrinsic. Even as definitions of them have changed, the two phenomena have consistently been described in parallel terms. Love is characterized by paradox. Above all, it is both necessarily public, because interpersonal, and intensely private; hence it both requires expression and resists it. In poetry, especially lyric poetry, which features its own characteristic paradoxes and silences, love finds a natural outlet. This study considers both the theories and the love poems themselves, bringing together a wide range of examples from different eras in order to examine the major structures that love and poetry share. It does not aim to be a comprehensive history of Western love poetry, but an investigation into the meaning and function of recurrent tropes, forms, and images employed by poets to express and describe erotic love.


2011 ◽  
Vol 6 (1) ◽  
pp. 1
Author(s):  
Samidi Khalim

Islam Kejawen here is meant as Islam as practiced in the Kingdom of Java. A reflection of Islam Kejawen can be seen in the works of literature written by the kingdom poets. This paper raises thoughts of Kraton Surakarta poet, Ngabehi Sastrawijaya, who lived during the reign of Paku Buwana III and Paku Buwana IV. The works of Sastrawijaya analyzed are Suluk Sajatining Salat and Suluk Salat Sarengat Tarekat Hakekat Makripat stored in the library of the Kingdom of Surakarta Museum, Museum Sasana Pustaka. This article analyzes the text to reveal both the meaning and function of the suluk for Islam Kejawen practice.


2014 ◽  
Vol 672-674 ◽  
pp. 1441-1446 ◽  
Author(s):  
Yu Qiang Ou ◽  
Le Feng Cheng ◽  
Jian Zhong Wen ◽  
Xuan Yu Qiu ◽  
Tao Yu

Research on reliability of distribution network has very important meaning and function to ensure the quality of power supply. This paper introduces some basic concepts of reliability in distribution network, including distribution network reliability definition, task and index. The classical reliability evaluation method was reviewed, and focused on specific distribution network, an example analysis was given, and specific reliability evaluation indexes were calculated. Finally, the future development of distribution network reliability evaluation was made a simple prospect.


1965 ◽  
Vol 60 (4) ◽  
pp. 586
Author(s):  
R. D. Huddleston ◽  
J. M. Sinclair ◽  
Mario Pei ◽  
Mitford McLeod Mathews ◽  
Leonard F. Dean ◽  
...  

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