Narasi-narasi Kecil (Mikronarasi) dalam genre Fiksi Pedesaan Pendekatan Posmodernisme terhadap Cerpen Menghilang Bersama Angin karya Xing Qingjie

The short story text Disappearing with the Wind by Xing Qingjie as a representation of the rural fiction genre in Chinese Literature attempts to refute the grand narratives of modern fiction. For the author of the text, the power of modernity is not eternal, but can be subverted or deconstructed by giving acknowledgment to the small voices represented by Mr Zou, Sha Xiaobao, and the idiot woman in Disappearing with the Wind. This study uses a postmodernism approach to map the elements of disorientation, abnormality and small voices in that short story. Affirmation of the micronarrative is a way of working of postmodern fiction in challenging the power of modernity with the grand narrative as its main basis. For Xing Qingjie, reality does not always depend on big people, famous people, but can also be celebrated by village people, unusual people, including people who are marginalized in modern life. In his lawsuit, the presence of this text will emphasize that there is no central, no peripheral. All can be the center, and all can also be the periphery. Rural fiction pioneered by Lu Xun proves that denial of the power of grand narratives is possible in the same way that Xing Qingjie has done in a number of his works, including the short story Disappearing with the Wind.

TRADISI PENGHORMATAN DEWA DALAM MASYARAKAT TIONGHOA BEKASI

This article discusses the practice of the cult of temple”s deity. This cult is said to be a reinvented tradition. The tradition is created because it is formed by the elements that come from the original tradition. By tracing the process of discovering the Hobsbawm tradition from the sacred and profane aspects of Durkheim and its relation to totemism, it is evident that this tradition has a new form and function. The original function of tradition was to strengthen identity, but the new function of the reinvented tradition appears to be an integrative function. The reinvented tradition also occurs in an effort to attract public interest or attention to make it more popular in the community. The temple community carries out an invented traditional process so that the tradition of the cult becomes more attractive, and is preferred more popular, through the appearance of entertainment shows at festivals.

The Use of Fengshui in Keraton Kasepuhan Cirebon

This article shows the application of fengshui in Keraton Kasepuhan. The application of fengshui also shows the acculturation of Chinese culture in Kertaon Kasepuhan. This study uses a qualitative research method which data collection uses literature study, interviews, observation, and documentation. The results showed that Keraton Kasepuhan applied fengshui at the location of the palace, namely its position facing the sea with its back to the mountain. The shape of the building has the advantageous shape of a rectangle. The fengshui elements used in Keraton Kasepuhan building are in the form of color, room lighting, the symbol of plants and animals, and fengshui decorative symbols. The application of fengshui at Keraton Kasepuhan is carried out in order to get the benefits of balance or harmony.

The Modal Particles in the Storybook 原我这么棒 Yuánlái Wύ Zhème Bàng By Li Huizhen Partikel Modalitas dalam Buku Cerita 原来我这么棒 Yuánlái Wǒ Zhème Bàng Karya Li Huizhen

Particles in Mandarin can be divided into three kinds, namely structural, aspectual, and modality or modal particles. The particles have their own functions, as well as having grammatical meanings. This article discusses the particles of modality in the children's storybook entitled原我这么棒(Yuánlái Wύ Zhème Bàng) 'I'm So Great' by Li Huizhen. Particles of modality are widely used in the context of the conversation in the storybook, namely 啊 a, 吧 ba, 啦la, 了le, 啰luo, 吗ma, 嘛ma, 哪na, 呢ne, 呀ya, 哟yo. Through distributional analysis methods, as well as with the technique of evaporation and transfer analysis, the modality particles can be matched with phatic particles in Indonesian, such as 'ya', 'lah', 'sih', 'lho', and 'dong' which are generally located behind sentences, and some behind clauses. However, the meaning of the particles is uncertain and unsteady because each depends on the context of the sentence or the meaning of the sentence. The presence of modality particles in a sentence can change the meaning of a sentence, its type of sentence, or its language function.

TRADISI SEMBAHYANG CIOKO (鬼節Guǐ Jié) DI PAN KHO BIO, BOGOR CIOKO (鬼節Guǐ Jié) TRADITION IN PAN KHU BIO, BOGOR

Cioko as one of the ceremonial traditions in Chinese culture has a meaning as a sense of devotion to the ancestors for the Chinese community. They believe that in this world humans do not live alone and their ancestors can still witness from a different realm. Prayers are performed to remember the ancestors and so that the ancestors are calm in their nature. This prayer also aims to ask for protection from their ancestors. Similarly, the Chinese in Bogor held the Cioko ceremony at a temple in Bogor, namely Pan Khu Bio. In addition to the Chinese community who held the Cioko celebration, the people who lived around Pan Kho Bio also helped during Cioko. Starting from preparation, helping decorate the temple to cleaning the temple after Cioko finished. Despite differences in beliefs, residents help each other at the temple and form a social bond.

ACCULTURATION IN GOD'S BIRTHDAY CEREMONY KELENTENG SHIA DJIN KONG, JONGGOL

This paper discussed the acculturation of Chinese and Sundanese culture in a ceremony at the Shia Djin Kong temple, Jonggol. On the right side of the temple there is a special room for the cult of Jonggol's ancestors, namely Embah Jago, Embah Sabin, Embah Surkat, Embah Jagakarsa, and Embah Nagawulung. In that room there are also many heirloom objects, such as keris, spears, lafadz Allah, and swords. Acculturation between Sundanese culture and Chinese culture can be seen at the birthday ceremony of the god Shia Djin Kong, which is the similarity between local culture and Chinese culture, in ancestor worship. The research method used in this writing is a qualitative research method, data collection techniques in this writing are participant observation, observation, and interviews to the temple officer, and people who come to pray both during the god's birthday ceremony and on ordinary days.

CYBERLITERATURE IN CHINA: LITERATURE AS INDUSTRY

The digital revolution has influenced the development of various industrial fields in China, as well as in literature. Various types of literary works were born in the digital space and later developed into a genre called Wǎngluò wénxué 网络 文学 or popularly known as "Cybersastra". This article is an overview of in-depth research on the Cybersastra movement in China, starting from its triggering factors, its pioneers, to its business model from time to time. The Cybersastra movement in China has had a major influence on the literary climate which previously seemed so idealistic, then transformed into competitive digital products based on the basis of supply and demand. Despite the distortion that Cybersastra has caused to the authenticity of Chinese literature, the rapidly developing Cybersastra has succeeded in globalizing Chinese literature. Cybersastra also made the literary climate in China a pop culture industry, which forms the basis of various derivative art industries.

NON-EQUIVALENCE TRANSLATION AT WORD LEVEL FROM MANDARIN TO INDONESIAN IN HIGHSCHOOL/MA MANDARIN TEXTBOOK

This research aimed to analyze the non-equivalence translation at the word level, including translation strategy to solve the non-equivalence translation result from Mandarin to Indonesian in the Highschool/MA Mandarin textbook published Depdikbud. This research used the qualitative research method. This research proves 24 non-equivalence translation data from the source language (Mandarin) to the target language (Indonesian) at the word level. Non-equivalencies in the translation from Mandarin to Indonesian are caused by the misunderstanding word, phrases, or expressions in the source language. The translator can use the strategy to get the equivalent translation at the word level primarily by using the more familiar word and closer to the level from the source language (Mandarin) and using paraphrase.

THE IDIOMATIC MEANING OF 成语 CHENGYU WHICH HAS NATURAL ELEMENTS

Mandarin is rich in vocabulary, including the form of 成语chéngyǔ, which is one of the most important parts in Mandarin. Every 成语chéngyǔ has its own background story, including history. Therefore, to understand the meaning of 成语chéngyǔ must understand the background of the story from 成语chéngyǔ. This article describes the idiomatic meaning of 成语chéngyǔ which has natural elements contained in the book of 成语故事Chéngyǔ Gùshi. Each Han character (汉字 Hànzì) that becomes an element in成语chéngyǔ does not reflect the overall meaning of the forming element, so that in general the成语chéngyǔ has idiomatic meaning. The method used in this writing is qualitative descriptive. There are 21成语chéngyǔ with natural elements in the book of 成语故事 Chéngyǔ Gùshi, however only one 成语chéngyǔ which contains partial idiom meanings, the other 20 of 成语chéngyǔ contains the full idiom meaning because of the forming elements do not reflect the idiomatic meaning. 成语chéngyǔ has a syntactic function in the sentence, as well as functions as advice, satire, and also praise to people indirectly.

REMEMBERING XIAO SHAN IN BA JIN ESSAYS THE WOUNDS OF THE CULTURAL REVOLUTION

The Cultural Revolution era was a dark period in Chinese history. The resistance to the power of Chairman Mao by literati people has resulted in deep wounds, as a result of intimidation, bad stigma, exclusion, and even imprisonment which often ends in death. Ba Jin's essay Remembering Xiao Shan can be seen as a mirror reflecting the deep wounds experienced by the author who is accused of being part of a counterrevolutionary group. Not only himself, but his beloved wife also had to bear the wounds of the Cultural Revolution. This study uses a hermeneutical analysis model to explore the author's "living world" in the text Reminiscing Xiao Shan about the sorrow experienced by himself, his fellow authors who were labeled as part of right-wing resistance, and the people he loved during repressive times under the control of Mao Zedong. The Cultural Revolution was long gone, but the wounds it caused were not easy to heal, and so Ba Jin documented it in the text in the form of an essay. In the end, time has proved that the idea of ​​resistance carried out by people like Ba Jin is irresistible, as has been proven by the current capitalistic economic style in China. The close people, even Ba Jin's wife were indeed neglected by the Red Guards, but their thoughts are still alive today.