53 research outputs found
GAYA KEPENGARANGAN GODI SUWARNA DALAM KUMPULAN CERPEN MURANG-MARING
No full textThis research aims to reveal the style of author Godi Suwarna in the short stories collection buku Murang-Maring. In the universe of Sundanese literature, the Godi’s writing style is a new thing that contradicts the general style of Sundanese literature that is realism. Godi grew up in a rural area, and later as an adult continued in an urban environment. His short stories are the collaboration and mixing between the city and the village, traditional and modern. The ideas that are raised into his work are also mostly reconstruct the traditional stories that already exist, be it from folklore, pantun stories, wayang stories, fairy tales and so forth into a new, more modern form in accordance with the will of the author. Godi and his works are dissected by using expressive studies that focus the discussion to the collection of short stories Murang-Maring and the character of Godi himself. Based on the results of the research, Godi is an author who is upset with the surrounding social circumstances. The clash between rules and freedom also greatly influences Godi's self in his works. Godi's short story works are like a container for aspiration and criticism. In addition, the influence of wayang is very visible in the short stories, either from the stroytelling style or borrowing the characters with his nyeleneh and unique style.
Abstrak
Riset ini bertujuan untuk mengungkap gaya pengarang Godi Suwarna dalam buku kumpulan cerpen Murang-Maring. Di jagat kesusastraan Sunda, gaya mengarang Godi adalah hal baru yang bertolak belakang dari gaya umum sastra Sunda yang beraliran realis. Godi dibesarkan di lingkungan pedesaan, dan kemudian setelah dewasa berlanjut di lingkungan perkotaan. Cerpen-cerpennya adalah kolaborasi dan percampuran antara kota dan desa, tradisional dan modern. Ide-ide yang diangkat ke dalam karyanya pun kebanyakan merekonstruksi cerita-cerita tradisional yang sudah ada, baik itu dari foklor, cerita pantun, cerita wayang, dongeng, dan sebagainya ke dalam bentuk baru yang lebih modern sesuai dengan kehendak pengarang. Godi dan karyanya dibedah dengan memakai kajian ekspresif yang memfokuskan pembahasan kepada kumpulan cerpen Murang-Maring dan sosok Godi sendiri. Berdasarkan hasil penelitian, Godi termasuk pengarang yang gundah dengan keadaan sosial di sekitarnya. Benturan antara aturan dan kebebasan juga sangat memengaruhi diri Godi dalam karya-karyanya. Karya cerpen-cerpen Godi juga seperti wadah untuk menyalurkan aspirasi dan kritik. Selain itu, pengaruh wayang sangat kental terlihat dari cerpen-cerpennya, baik itu dari gaya penceritaannya maupun meminjam tokoh-tokoh dengan gayanya yang nyeleneh dan khas
Afterword
No full textIn addition to summarizing briefly the book’s findings, the Afterword explains how the decorated initial “R” (pictured on the cover of Signs That Sing) in Arundel MS 16 represents hybrid poetics at work. The “R,” which begins the Vita et miracula Sancti Dunstani, is an author portrait of Osbern, an eleventh-century monk and precentor of Christ Church Cathedral Priory at Canterbury. The portrait of Osbern—as an author using hybrid signs—intersects with Exeter Riddle 26 (“Bible” or “Gospel”). These two examples span poetry and prose, the vernacular and Latin, and Anglo-Saxon and the early Anglo-Norman periods, suggesting future directions for research on hybrid poetics.</p
Creating Bilingual Educational Booklet as the Implementation of the Tagline ‘Sinau Maring Alam, Ora Bakal Nggawe Kowe Gela’ in Taman Botani Baturraden
No full textThis final report is entitled "Creating Bilingual Educational Booklet as the Implementation of the Tagline 'Sinau Maring Alam, Ora Bakal Nggawe Kowe Gela' in Taman Botani Baturraden". The main purpose of the job training is to create a bilingual educational booklet in Taman Botani Baturraden. This booklet was created to implement the tagline of Taman Botani Baturraden, that is 'Sinau Maring Alam, Ora Bakal Nggawe Kowe Gela', which means learning from nature will not make you disappointed. Moreover, the learning media of Taman Botani Baturraden was unavailable before. The creation of this booklet could help visitors to know the plants in Taman Botani Baturraden, which means that this booklet aligned with the tagline and educational theme brought by Taman Botani Baturraden.
In making the booklet, the author used four methods, there were observation, documentation, staff interview, and design making. The observation was carried out by the author to observe and obtain data on plants in Taman Botani Baturraden. Documentation was carried out to get the best photos of plants as visual support in the booklet. For the staff interview stage, the author found more information about plants in the booklet. Then, the last stage is making a booklet design using the basic green color as a representation of plants in Taman Botani Baturraden.
During the booklet making process, the author encountered several obstacles in the process. The obstacle is in determining the color and font. This is because Taman Botani Baturraden did not have a specific color palette and fonts for their products, so the author studied color and font theory again to determine it. Then, not all plants were in bloom, so the author could not document the plants thoroughly. The solution to these obstacles was to discuss with job training supervisors and supervisors in Taman Botani Baturraden
The Use of Bilingual Educational Booklet as the Implementation of the Tagline ‘Sinau Maring Alam, Ora Bakal Nggawe Kowe Gela’ in Taman Botani Baturraden
No full textThis research is entitled "Creating Bilingual Educational Booklet as the Implementation of the Tagline 'Sinau Maring Alam, Ora Bakal Nggawe Kowe Gela' in Taman Botani Baturraden". The main purpose of the job training is to create a bilingual educational booklet in Taman Botani Baturraden. This booklet was created to implement the tagline of Taman Botani Baturraden, that is 'Sinau Maring Alam, Ora Bakal Nggawe Kowe Gela', which means learning from nature will not make you disappointed. Moreover, the learning media of Taman Botani Baturraden was unavailable before. The creation of this booklet could help visitors to know the plants in Taman Botani Baturraden, which means that this booklet aligned with the tagline and educational theme brought by Taman Botani Baturraden.
In making the booklet, the author used four methods, there were observation, documentation, staff interview, and design making. The observation was carried out by the author to observe and obtain data on plants in Taman Botani Baturraden. Documentation was carried out to get the best photos of plants as visual support in the booklet. For the staff interview stage, the author found more information about plants in the booklet. Then, the last stage is making a booklet design using the basic green color as a representation of plants in Taman Botani Baturraden.
During the booklet making process, the author encountered several obstacles in the process. The obstacle is in determining the color and font. This is because Taman Botani Baturraden did not have a specific color palette and fonts for their products, so the author studied color and font theory again to determine it. Then, not all plants were in bloom, so the author could not document the plants thoroughly. The solution to these obstacles was to discuss with job training supervisors and supervisors in Taman Botani Baturraden
BALANCE 4P: Balancing decisions for urban brownfield regeneration – people, planet, profit and processes
No full textUrban designers are not used to taking the subsurface into a holistic perspective on spatial development. Nevertheless, the subsurface accommodates numerous functions crucial to urban life, such as infrastructure, carry capacity, heat, water, etc.. Moreover, it also carries the natural system crucial for urban quality and health. In the light of the current climate change, energy transition and the financial crisis these issues are more important for different reasons. The subsurface stores water, plays a role in cooling the city, provides geothermal warmth as renewable energy, and smart use of the subsurface can save considerable money. Besides, urban renewal (brownfield development) is the preferred option over taking new land (greenfield development). Brownfields do not have an unexplored soil system, it is already used in many ways. Therefore ‘Urban design with the subsurface’ should be considered a new frontier in urban planning and design. The neglect of the subsurface in spatial planning is due to the fact that responsibilities, tools and knowledge of subsurface engineering and urban planning and design are not integrated, they work on the same locations but divided into sectors. The urban designer is usually dealing with the opportunities for socio-economic benefits whereas the subsoil engineer deals with the technical challenges. Both on a practical level of building the city, as well as at policy level, ‘subsurface’ and ‘surface’ are separate realms. The aim of this report is to discuss this segregation in three countries that are active in integrating subsurface in urban development: Sweden, Netherlands and Flanders (Belgium). The main research questions are: What characterises these planning systems? How is the subsurface framed in these countries? A comparison is performed as the first step in learning and proposing better ways of integrating subsurface in urban planning and design, and vice versa.UrbanismArchitecture and The Built Environmen
A Sea Voyage in The Dream of the Rood
No full textThis is the third of three chapters describing oral-connected idioms transformed by Christian hermeneutics. The sixth chapter focuses on a typescene rather than a theme. The sea voyage typescene arises in purely metaphoric capacity in The Dream of the Rood, where the typescene’s motifs overlap with descriptions of Christ’s crucifixion. The embedded sea-voyage typescene supports and elaborates upon the patristic navis crucis concept (Cross as ship). The poem fuses the metonymic implications of the sea-voyage typescene with the navis crucis metaphor, making the oral-connected typescene a hybrid figure. By understanding how hybrid poetics can embed typescenes and themes in “unusual” scenarios, we can perceive strains of signification that would otherwise remain silent.</p
Hybrid Poetics in Old English Verse
No full textChapter 1 proposes that oral-traditional and literate features of a text do not correlate with a Germanic past and a Christian present. Instead, poets treat these modes of communication, simultaneously, as part of their poetic inheritance. In order to better describe how hybrid signs communicate, this chapter surveys defining characteristics of oral traditions (i.e., metonymy as described in the theory of Immanent Art), rituals (i.e., ritual signification), and literate traditions (i.e., medieval hermeneutics). The chapter explores oral-connected, oral-literate, and ritual signs in Exeter Riddle 30a/b to demonstrate how hybrid poetics can further our understanding of an Old English poem.</p
A Lord-Retainer Theme
No full textChapter 3 discusses an oral-connected idiom whose constitutive motifs employ clusters of concepts rather than specific morphemes or phraseological patterns. By calling the lord-retainer convention a “theme” in the oral-traditional sense, this chapter highlights meaningful features of the theme and the expressive role of metonymic referentiality. The poems discussed use the motifs of the lord-retainer theme to frame the relationship between lords and retainers in different ways. In Battle of Maldon and Beowulf the lord-retainer theme represents the social contract between mortal lords and their retainers, while in Andreas and Genesis A it describes a spiritual contract between Christ and his followers.</p
Bright Voice of Praise
No full textChapter 5 is the second of three chapters focused on oral-literate idioms, this time introducing a new theme—called “poet-patron”—and charting its written oral-connected versions and oral-literate (metaphorical) versions. In Widsith and Deor the theme, as an oral-traditional idiom, portrays poets and patrons as characters who exemplify the symbiosis of appropriate socio-political deeds and words of praise. In Advent Lyrics, The Gifts of Men, “Alms-Giving,” and Thureth the theme metaphorically represents the interrelationship between God’s generosity and human praise.</p
Refiguring Hybrid Oral-Literate Signs
No full textThis is the first of three chapters that examines poems in which oral-traditional themes play a distinctly metaphorical role. Old English oral-connected themes are a rich resource for creating and framing narrative subjects. When poets make such themes metaphorical, they are using a strategy consonant with the reading practices of medieval Christian textual communities. Chapter 4 describes how the two themes explored in previous chapters bear metaphorical meaning in The Phoenix, Exeter Riddle 47 (“Book Moth”), and the Advent Lyrics (Christ I). Being transplanted to unusual narrative contexts, they profit from literate modes of interpretation. Used allegorically and metaphorically, the devouring-the-dead theme describes the fate of the soul during the Apocalypse, in hell, and in heaven. The lord-retainer theme in the Advent Lyrics serves as a metaphor for humanity’s renewed covenant with God. These metaphorical uses of oral-connected themes constitute a rhetorical category made possible by hybrid poetics. They exemplify how Anglo-Saxon poets fused oral-traditional and literate modes of signification.</p
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