Pub Date : 2018-08-28DOI: 10.14710/NUSA.13.3.482-492
S. Suharyo
So far, linguistic research, especially discourse research, is still focused on aspects of the linguistic structure as forming the discourse. Discourse is examined for the existence of cohesiveness and coherence of the discourse. What are the linguistic units that form cohesiveness and cohesiveness both lexical and grammatical coherence. This is different from discourse research using critical discourse paradigms. Critical discourse holds that discourse-forming structures are not in a social "vacuum". Because, discourse is basically a (social) action that is loaded with political, economic, power, cultural background etc. To conduct discourse research using critical paradigms, it is necessary to know the research characteristics of critical discourse analiysis, which includes (1) discourse is (social) action, (2) context, (3) historical, (4) power, (5) ideology, and ( 6) (diction) vocabulary basically (a) limits classification, (b) limits the views of a person / group, and (c) marginalizes certain people / groups. Among the available models, the critical discourse analysis model of the van Dijk model is a well-known model in Indonesia.
{"title":"Paradigma Kritis Dalam Penelitian Wacana","authors":"S. Suharyo","doi":"10.14710/NUSA.13.3.482-492","DOIUrl":"https://doi.org/10.14710/NUSA.13.3.482-492","url":null,"abstract":"So far, linguistic research, especially discourse research, is still focused on aspects of the linguistic structure as forming the discourse. Discourse is examined for the existence of cohesiveness and coherence of the discourse. What are the linguistic units that form cohesiveness and cohesiveness both lexical and grammatical coherence. This is different from discourse research using critical discourse paradigms. Critical discourse holds that discourse-forming structures are not in a social \"vacuum\". Because, discourse is basically a (social) action that is loaded with political, economic, power, cultural background etc. To conduct discourse research using critical paradigms, it is necessary to know the research characteristics of critical discourse analiysis, which includes (1) discourse is (social) action, (2) context, (3) historical, (4) power, (5) ideology, and ( 6) (diction) vocabulary basically (a) limits classification, (b) limits the views of a person / group, and (c) marginalizes certain people / groups. Among the available models, the critical discourse analysis model of the van Dijk model is a well-known model in Indonesia.","PeriodicalId":229358,"journal":{"name":"Nusa: Jurnal Ilmu Bahasa dan Sastra","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122818264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-08-28DOI: 10.14710/NUSA.13.3.471-482
S. Astuti
The purpose of this research is to describe the pattern of turn-taking and how to get the turn-taking contained in the drama of First Love by Inggrida Wismu S. This research is a qualitative descriptive study. Methods of data collection in this research is an observation method means that observe to the play script drama of First Love by Inggrida Wisnu S. the source of data obtained by online media. The data obtained in this research was a fragment of taking. Then, the data was analyzed by using the pattern of turn-taking. The results showed that the pattern of turn taking based on the closest adjacency pair contained in the drama of First Love script was (1) the question was followed by the answer, (2) greeting was followed by salam, (3) the call was followed by the answer, (4) farewell expression was followed by message, (5) ) praise was followed by refusing, (7) complain was followed by questioning, answering, offering, and refusing, (8) accusing was followed by refusing and admitting (9) the petition was followed by agreement, petition, suspension, petition, granting. As for turn-taking in the First Love drama by Inggrida Wisnu S used how to acquire, steal, create, continue, and seize.
{"title":"Pola Alih Tutur dalam Naskah Drama First Love Karya Inggrida Wisnu S.","authors":"S. Astuti","doi":"10.14710/NUSA.13.3.471-482","DOIUrl":"https://doi.org/10.14710/NUSA.13.3.471-482","url":null,"abstract":"The purpose of this research is to describe the pattern of turn-taking and how to get the turn-taking contained in the drama of First Love by Inggrida Wismu S. This research is a qualitative descriptive study. Methods of data collection in this research is an observation method means that observe to the play script drama of First Love by Inggrida Wisnu S. the source of data obtained by online media. The data obtained in this research was a fragment of taking. Then, the data was analyzed by using the pattern of turn-taking. The results showed that the pattern of turn taking based on the closest adjacency pair contained in the drama of First Love script was (1) the question was followed by the answer, (2) greeting was followed by salam, (3) the call was followed by the answer, (4) farewell expression was followed by message, (5) ) praise was followed by refusing, (7) complain was followed by questioning, answering, offering, and refusing, (8) accusing was followed by refusing and admitting (9) the petition was followed by agreement, petition, suspension, petition, granting. As for turn-taking in the First Love drama by Inggrida Wisnu S used how to acquire, steal, create, continue, and seize.","PeriodicalId":229358,"journal":{"name":"Nusa: Jurnal Ilmu Bahasa dan Sastra","volume":"135 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133624768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-08-28DOI: 10.14710/NUSA.13.3.380-389
M. Hermintoyo
Abstract In providing an aesthetic element, the lyricist will express it through poetic diction. In the hands of creative lyric writers, a figurative language will emerge. Metaphorical lyrics understanding does not have to have the same meaning that is written. Poetic language / poetic lyrics, the words can mean the meaning depends on the listener's understanding. Even so in the song nDangdut. In general, the song Dangdut tends to have a theme of love compared to other themes. This article discusses metaphorical diction as an aesthetic means. Meaning of metaphorical diction using hermeneutical reading. Keywords: diction, metaphor, hermeunetic, lyrics, dangdut
{"title":"Kalimat Metaforis Sebagai Sarana Estetika dalam Lirik Lagu nDangdut","authors":"M. Hermintoyo","doi":"10.14710/NUSA.13.3.380-389","DOIUrl":"https://doi.org/10.14710/NUSA.13.3.380-389","url":null,"abstract":"Abstract In providing an aesthetic element, the lyricist will express it through poetic diction. In the hands of creative lyric writers, a figurative language will emerge. Metaphorical lyrics understanding does not have to have the same meaning that is written. Poetic language / poetic lyrics, the words can mean the meaning depends on the listener's understanding. Even so in the song nDangdut. In general, the song Dangdut tends to have a theme of love compared to other themes. This article discusses metaphorical diction as an aesthetic means. Meaning of metaphorical diction using hermeneutical reading. Keywords: diction, metaphor, hermeunetic, lyrics, dangdut","PeriodicalId":229358,"journal":{"name":"Nusa: Jurnal Ilmu Bahasa dan Sastra","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125504008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-08-28DOI: 10.14710/NUSA.13.3.390-396
Mujid Farihul Amin
Lexical interference is the entry of vocabulary from certain languages / languages into other languages / languages. In the use of official Indonesian languages, often people also use vocabulary commonly used in informal languages, such as kayak, bilang, bikin, cuman, cewek, nggak, dikasih, gitu, and gini. Good and right Indonesian should avoid things like that.
{"title":"Interferensi Leksikal Kosakata Ragam Bahasa Takresmi ke dalam Ragam Bahasa Resmi dalam Bahasa Indonesia","authors":"Mujid Farihul Amin","doi":"10.14710/NUSA.13.3.390-396","DOIUrl":"https://doi.org/10.14710/NUSA.13.3.390-396","url":null,"abstract":"Lexical interference is the entry of vocabulary from certain languages / languages into other languages / languages. In the use of official Indonesian languages, often people also use vocabulary commonly used in informal languages, such as kayak, bilang, bikin, cuman, cewek, nggak, dikasih, gitu, and gini. Good and right Indonesian should avoid things like that.","PeriodicalId":229358,"journal":{"name":"Nusa: Jurnal Ilmu Bahasa dan Sastra","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127868593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of writing this paper is to describe creative writing activities for seventh grade students in East Jakarta. This activity was carried out by a team of lecturers, students and alumni of the Indonesian Language Study Program at Indraprasta PGRI University as a form of the Tri Dharma of Higher Education in Community Service. The implementation of this activity lasted for two days at two different schools. The method used in this creative writing activity is the lecture and brainstorming methods. In addition, the Community Service team also used a demonstration method in describing the stages or process of creative writing of literature according to its experience in literary copyright. With literary creative writing activities both writing poetry or short stories, from these our team expected that the more real growth and development of school literacy will occur so that more students produce literary works. Therefore, the outcome of this activity is the publication of Short Story Poetry and Antalogy book by students
{"title":"Kegiatan Menulis Kreatif Sastra Pada Siswa Kelas VII SMP Di Jakarta Timur Sebagai Wujud Gerakan Literasi Sekolah","authors":"Endang Sulistijani, Arinah Fransori, Friza Youlinda","doi":"10.14710/nusa.13.3.370-379","DOIUrl":"https://doi.org/10.14710/nusa.13.3.370-379","url":null,"abstract":"The purpose of writing this paper is to describe creative writing activities for seventh grade students in East Jakarta. This activity was carried out by a team of lecturers, students and alumni of the Indonesian Language Study Program at Indraprasta PGRI University as a form of the Tri Dharma of Higher Education in Community Service. The implementation of this activity lasted for two days at two different schools. The method used in this creative writing activity is the lecture and brainstorming methods. In addition, the Community Service team also used a demonstration method in describing the stages or process of creative writing of literature according to its experience in literary copyright. With literary creative writing activities both writing poetry or short stories, from these our team expected that the more real growth and development of school literacy will occur so that more students produce literary works. Therefore, the outcome of this activity is the publication of Short Story Poetry and Antalogy book by students","PeriodicalId":229358,"journal":{"name":"Nusa: Jurnal Ilmu Bahasa dan Sastra","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121865625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-31DOI: 10.14710/nusa.13.2.265-272
Redyanto Noor
AbstractSome literary experts say that literary works are cultural objects and production is an industrial process. When literature enters the territory of production then the laws imposed upon itself are industrial law. That is why when talking about the production of literary works means dealing with laws (read: systems, mechanisms, and strategies) imposed by the institution of manufacture, i.e. publishers. Whereas in industrial business competition, every producing institution besides applying the conventional laws of industry, also develops distinctive internal laws to maintain the competitive power of its institution against the strength of other producing institutions.The modern publisher as a book-producing institution must creatively develop its industrial laws in order to compete with other similar publishers. Starting from the above references in chicklit and teenlit novel Indonesia's production article will discuss chicklit and teenlit novel production mechanism and mechanism covering three publishers, namely Elex Media Komputindo, GagasMedia, and Gramedia Pustaka Utama. The system and production mechanism in question includes the acquisition of the manuscript. Acquisition of manuscripts includes hunting and auction of manuscripts. IntisariBeberapa ahli sastra mengatakan bahwa karya sastra adalah obyek budaya dan produksi adalah proses industri. Ketika sastra memasuki wilayah produksi maka hukum yang dikenakan pada dirinya sendiri adalah hukum industri. Itulah mengapa ketika berbicara tentang produksi karya sastra berarti berurusan dengan hukum (baca: sistem, mekanisme, dan strategi) yang dikenakan oleh institusi manufaktur, yaitu penerbit. Sedangkan dalam persaingan bisnis industri, setiap lembaga produksi selain menerapkan hukum industri konvensional, juga mengembangkan undang-undang internal yang khas untuk mempertahankan daya saing lembaga mereka terhadap kekuatan lembaga produksi lainnya. Penerbit modern sebagai lembaga pembuat buku harus secara kreatif mengembangkan undang-undang industrinya agar dapat bersaing dengan penerbit lain yang serupa. Dari referensi di atas dalam novel chicklit dan teenlit, artikel ini akan membahas mekanisme dan mekanisme produksi novel chicklit dan teenlit yang meliputi tiga penerbit, yaitu Elex Media Komputindo, GagasMedia, dan Gramedia Pustaka Utama. Sistem dan mekanisme produksi yang dimaksud termasuk akuisisi naskah. Akuisisi manuskrip termasuk berburu dan melelang manuskrip.
【摘要】一些文学专家认为，文学作品是一种文化物品，其生产是一种工业过程。当文学进入生产领域时，强加给它的法律就是工业法。这就是为什么在谈论文学作品的生产时，意味着要处理由制造机构(即出版商)施加的法律(即系统、机制和策略)。而在工业企业竞争中，每个生产制度除了运用工业的常规规律外，还发展出独特的内部规律，以维持其制度相对于其他生产制度的竞争力。现代出版商作为图书生产机构，必须创造性地发展自己的产业规律，才能与其他同类出版商竞争。从上述小鸡文学和青少年小说的参考文献开始，印度尼西亚的生产文章将讨论小鸡文学和青少年小说的生产机制和机制，涉及三家出版商，即Elex Media Komputindo, GagasMedia和Gramedia Pustaka Utama。所讨论的系统和生产机制包括手稿的获取。获得手稿包括寻找和拍卖手稿。IntisariBeberapa ahli sastra mengatakan bahwa karya sastra adalah obyek budaya dan produksi adalah process industry。Ketika sastra memasuki wilayah producksi maka hukum yang dikenakan pada dirinya sendiri adalah hukum industry。Itulah mengapa ketika berbicara tentangproducdksi karya sastra berarti berurusan dengan hukum (baca: system, mekanisme, danstrategi) yang dikenakan oleh研究所制造，yitu penbit。Sedangkan dalam persingingand bisnis industry, seap lembaga productksi selain menerapkan hukum industry, juga mengembangkan undang-undang - internal yang khas untuk成员pertahankan daya savinglembaga mereka terhadap kekuatan lembaga productsi lannya。Penerbit modern sebagai lembaga pembuat buku harus secara kreatif mengembangkan undang undang industrinya agar dapat bersaing dengan Penerbit lain yang serupa。中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:中文参考资料:系统dan mekanisme产品，yang dimaksud termasuk akuisisi naskah。Akuisisi手稿termasuk berburu dan melelang手稿。
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Pub Date : 2018-05-31DOI: 10.14710/NUSA.13.2.291-300
M. Hermintoyo
AbstractThe lyrics of the song are like the poetry of an aesthetic element that builds them as intrinsic elements, such as diction, rhyme, images and rhetorical means. In the hands of creative authors will create an interesting private diction diction and bring up beautiful metaphors. Song lyrics are created based on the author's emotional expression both from personal experience and see around him as the object of his creation. One of the most widely made is the lyrics of the song with the theme of romance, both ranging from approach / introduction, romantic seduction to the sadness left by her lover. This article discusses the metaphorical phrases in the lyrics of popular songs with the study of aesthetics, the elements that build the lyrics and their meaning. IntisariLirik lagu tak ubahnya seperti puisi ada unsur estetis yang membangunnya berupa unsur intrinsiknya, seperti diksi, rima , imaji dan sarana retorika. Di tangan pengarang yang kreatif akan memunculkan diksi private symbol yang menarik dan memunculkan metafor-metafor yang indah. Lirik lagu diciptakan berdasar ekspresi emosional pengarangnya baik dari pengalaman pribadi maupun melihat di sekitarnya sebagai objek penciptaannya. Salah satu yang paling banyak dibuat adalah lirik lagu yang bertemakan percintaan, baik mulai dari pendekatan/pengenalan, rayuan romantisnya sampai pada kesedihan ditinggal kekasihnya. Artikel ini membahas kalimat-kalimat metaforis dalam lirik lagu populer dengan kajian estetikanya, yaitu unsur yang membangun lirik dan maknanya.
摘要歌曲的歌词就像一种美学元素的诗，它是由词法、韵脚、意象、修辞手段等构成的内在要素。在富有创造力的作者手中，将创造出一种有趣的私人用语，并提出美丽的隐喻。歌词的创作基于作者的情感表达，既有个人经历，也有作为创作对象的周围事物。其中制作最广泛的是这首以浪漫为主题的歌曲的歌词，从接近/介绍，浪漫的诱惑到爱人留下的悲伤。本文从美学的角度探讨了流行歌曲歌词中的隐喻短语、构成歌词的要素及其意义。intisarik lagu take ubahnya seperti puisi ada unsur estetis yang membangunnya berupa unsur intrinknya, seperti diksi, rima, imaji dan sarana retorika。ditangan pengarang yang kreatif akan memunculkan diksi私人符号yang menarik dan memunculkan元对元为yang indah。Lirik拉祜diciptakan berdasar ekspresi emosional pengarangnya baik达里语pengalaman pribadi maupun melihat di sekitarnya sebagai objek penciptaannya。Salah satu yang paling banyak dibuat adalah lirik lagu yang bertemakan percintaan, baik mulai dari pendekatan/pengenalan, rayuan romantisnya sampai padkesedihan ditinggal kekasihnya。Artikel ini membahas kalimat-kalimat metforis dalam lirik lagu populer dengan kajian estetikanya, yitu unsur yang membangan lirik dan maknanya。
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Pub Date : 2018-05-31DOI: 10.14710/NUSA.13.2.231-243
Ary Setyadi
AbstractParticle as a marker of the sentence type has its own characteristics/characteristics, namely: enclitis, human, and relatively free distributed. Due to the nature/ characteristics of the particle has a function as a confirmation of the sentence. In addition to the subject, the particles also have the ability to move in accordance with the elements of the sentence to be affirmed; and as a result of the ability to move in place the absence of particles can be able to join the many kinds of word classes. The application of methods, both data collection methods and methods of classification and data analysis as imposed in linguistic research activities. Namely: the stage of data collection, classification and data analysis phase, and stage of presentation/ report writing. The theory used in relation to the study of these particles is the linguistic theory of the syntactic field. The result show that the kah particle always follow to the word. Kah particle can be remove according to the sentence elements that are focused. The existing of kah particle in the interrogative sentence is optionally. IntisariPartikel kah sebagai penanda tipe kalimat tanya mempunyai sifat/ciri khusus, yaitu: bersifat enklitis, manasuka, dan relatif berdistribusi bebas. Akibat sifat/ciri tersebut maka partikel tersebut mempunyai fungsi sebagai penegas kalimat. Di samping perihal tersebut, partikel kah juga mempunyai kemampuan berpindah letak sesuai dengan unsur bagian kalimat yang hendak ditegaskan; dan akibat kemampuan berpindah tempat maka kebaradaan partikel kah mampu bergabung dengan sekian banyak macam kelas kata. Adapun penerapan metode, baik metode pengumpulan data maupun metode klasifikasi dan analisis data sebagaimana yang diberlakukan dalam kegiatan penelitian linguistik. Yaitu: tahap pengumpulan data, tahap klasifikasi dan analisis data, dan tahap penyajian/penulisan laporan. Teori yang digunakan sehubungan pengkajian partikel kah iniadalah teori linguistik bidang sintaksis. Hasil penelitian menunjukkan bahwa partikel kah selalu menempel pada kata. Partikel kah dapat berpindah letak sesuai dengan unsur kalimat yang dijadikan pemfokusan. Kehadiran partikel kah dalam kalimat tanya tidak bersifat wajib.
【摘要】语词作为句式的标记有其自身的特点/特点，即:隐蔽性、人性、分布性相对自由。由于小品的性质/特点，它具有确认句子的功能。除主语外，微粒也有能力按照句子的要素移动来加以肯定;由于有了原地移动的能力，没有粒子的单词就可以加入到许多种类的词类中。方法的应用，包括数据收集方法、分类和数据分析方法，这些都是强加于语言学研究活动中的。即:数据收集、分类和数据分析阶段，以及presentation/ report写作阶段。与研究这些小品有关的理论是句法领域的语言学理论。结果表明，kah粒子总是跟在单词后面。根据所关注的句子要素，可以去除Kah助词。疑问句中kah助词的存在是可选的。IntisariPartikel kah sebagai penanda tipe kalimat tanya mempunyai sifat/ciri khusus, yititya: bersifat enklitis, manasuka，和相对分布的业务bebas。Akibat siat /ciri tersebut maka particle tersebut mempunyai fungsi sebagai penegas kalimat。disamhalhalterbut, partikel kah juga mempunyai kemampuan berpindah letak sesuai dengan unsur bagian kalimat yang hendak diegaskan;丹akibat kemampuan berpindah tempat maka kebaradaan partikel ka mampu bergabung dengan sekian banyak macam kelas kata。Adapun penerapan方法，baik方法，pengumpulan数据，maupun方法，klisfikasi数据，分析数据，sebagaimana, diberlakukan dalam kegiatan语言学。雅图:塔哈彭普兰数据，塔哈克拉斯卡西丹分析数据，塔哈彭普兰/penulisan laporan。中文翻译:中文翻译为:中文翻译为:中文翻译为:中文翻译。Hasil penelitian menunjukkan bahwa partikel kah selalu menempel pada kata。我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是。Kehadiran partikel kah dalam kalimat tanya tidak bersifat wajib。
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Pub Date : 2018-05-31DOI: 10.14710/NUSA.13.2.223-230
Riris Tiani
AbstractAcehnese and Gayonese belong to Austronesian languages which are cognate genetically. Adjacent location became the basis for the assumption that both language are related one of the linguistic kinship indicators described in comparative historical linguistic studies in occurrence of sound changes that occur regularly. The two languages show similar specific features. One of them is a phenomenon of sound changes that is called a phonemic correspondence. The sound changes in the two languages happen continuously. In this paper, the writer wants to prove the cognate phenomenon by using a comparative analysis, especially by applying a phonemic correspondence technique. Based on similarities in form and correspondence phonemes technique, it was found that the formula of the phonemic correspondence in Acehnese and Gayonese are: *a and *u> in phonemic correspondence /a~e/, /a~o/, /o~u/, and /e~u/ especially on position penultima bilabial, palatal, dorsovelar, and faringal.IntisariBahasa Aceh dan bahasa Gayo merupakan bahasa Austronesia yang secara genetis bersifat kognat. Letak yang berdekatan menjadi dasar asumsi kedua bahasa tersebut kekerabatan. Salah satu indikator kekerabatan bahasa yang dijelaskan dalam kajian linguistic historis komparatif yakni adanya perubahan bunyi bahasa yang terjadi secara teratur. Hal ini ditunjukan oleh okurensi perubahan bunyi yang disebut korespondensi fonemis. Perubahan bunyi bahasa Aceh dan bahasa Gayo terjadi secara konstan dan teratur pada setiap segmen dari glos yang dibandingkan. Berdasar pada kesamaan bentuk dan makna, dengan menggunakan teknik korespondensi fonemis, diperoleh formula korespondensi fonemis dalam bahasa Aceh dan bahasa Gayo sebagai berikut: *a dan *u > memiliki korespondensi fonemis /a~e/, /a~o/, /o~u/, dan /e~u/ terutama pada posisi penultima bilabial, palatal, dorsovelar, dan faringal.
汉语和加隆语同属南岛语系，在遗传上是同源的。相邻位置成为假设两种语言相关的基础，这是比较历史语言学研究中描述的有规律发生的语音变化的语言亲缘关系指标之一。这两种语言显示出相似的特定特性。其中之一是一种叫做音位对应的声音变化现象。两种语言的声音变化是连续发生的。在本文中，作者试图通过比较分析，特别是运用音位对应技术来证明同源现象。基于形式相似性和对应音素技术，发现亚齐语和加隆语的音位对应公式为:*a和*u>，在音位对应中/a~e/、/a~o/、/o~u/和/e~u/，特别是在双耳、腭、背、舌的第二位置。杨IntisariBahasa亚齐丹印尼语Gayo merupakan印尼语Austronesia secara生物学bersifat kognat。让我们一起来看看我们的生活吧。Salah satu指标kekerabatan bahasa yang dijelaskan dalam kajian语言历史比较yakni adanya perubahan bunyi bahasa yang terjadi secara teratur。Hal ini ditunjukan oleh okurensi perubahan bunyi yang disebut korespondensi fonemis。秘鲁语，印度尼西亚语，印度尼西亚语，印度尼西亚语，印度尼西亚语，印度尼西亚语，印度尼西亚语，印度尼西亚语，印度尼西亚语，印度尼西亚语，印度尼西亚语，印度尼西亚语，印度尼西亚语，印度尼西亚语。Berdasar pada kesamaan bentuk dan makna, dengan menggunakan teknik korespondensi fonemis, diperoleh formula korespondensi fonemis dalam bahasa Aceh dan bahasa Gayo sebagai berikut: *a dan *u > memoriliki korespondensi fonemis /a~e/， /a~o/， /o~u/， dan /e~u/ terutama pada posisi penultima双音节，腭，背音节，dan faringal。
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Pub Date : 2018-05-31DOI: 10.14710/NUSA.13.2.329-340
M. H. Purnomo, Untung Kustoro
AbstractThe process of literary transformation is becoming a trend, especially from novel to film. The process of transformation is relatively rare in poetry into other literary works, let alone done by the same author as a poem into a novel Rain of June by Sapardi Djoko Damono. With the approach of transformation theory and comparison method found similarities and differences. Additions, replacements, and deletions that occur from poetry to novel. This change occurs because the constituent structure of two different works. However, the overall theme, mandate, and essence of both literary works are the same.IntisariProses transformasi sastra sedang menjadi trend, terutama dari novel menjadi film. Proses transformasi relatif jarang terjadi pada puisi menjadi karya sastra lain, apalagi dilakukan oleh penulis yang sama seperti puisi menjadi novel Hujan Bulan Juni karya Sapardi Djoko Damono. Dengan pendekatan teori transformasi dan metode perbandingan ditemukan kesamaan dan perbedaan. Penambahan, penggantian, dan pelesapan yang terjadi dari puisi ke novel. Perubahan ini terjadi karena struktur penyusun dari dua karya yang berbeda. Namun, secara keseluruhan tema, amanat, dan inti dari kedua karya sastra adalah sama.
摘要文学作品的转化过程已成为一种趋势，尤其是从小说到电影的转化。诗歌转化为其他文学作品的过程较为罕见，更不用说由同一作者完成，如萨帕尔迪-乔科-达莫诺（Sapardi Djoko Damono）将诗歌转化为小说《六月的雨》。通过转化理论和比较方法，我们发现了其中的异同。从诗歌到小说所发生的添加、替换和删除。出现这种变化是因为两部不同作品的组成结构不同。然而，两部文学作品的总体主题、任务和精髓是相同的。精髓文学作品的转化过程正在成为一种趋势，尤其是从小说到电影的转化过程。诗歌向其他文学作品的转化过程相对较少，更不用说像萨帕尔迪-乔科-达莫诺（Sapardi Djoko Damono）的诗歌向小说《胡扬-布兰-朱尼》（Hujan Bulan Juni）的转化那样由同一作者完成。通过转化理论和比较方法，我们发现了其中的异同。从诗歌到小说中出现的添加、替换和遗漏。这些变化是由两部不同作品的组成结构所决定的。然而，两部文学作品的总体主题、任务和核心是相同的。
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