Nyoman Kutha Ratna
Unknown Affiliation

Published : 5 Documents
Articles

Found 5 Documents
Search

SKETCH OF INTERTEXTUALITY OF TEXTS WITH ISLAMIC DISCOURSES IN TRADITIONAL BALINESE LITERATURE Jelantik SP, Ida Bagus; Kutha Ratna, Nyoman; Suarka, I Nyoman; Weda Kusuma, I Nyoman
e-Journal of Linguistics Vol. 8. Januari 2014 No. 1
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Researchers have identified the existence of Islamic discourses in the texts of the traditional Bali literature since a long time ago; however, attention has not been properly paid to them. It has been identified that a number of oral texts (kesusastraan gantian) in the forms of poem and prose contain Islamic discourses. Likewise, a number of written texts in the form of manuscripts (kesusastraan sasuratan) have also been identified to contain the same literary genre. Historically, the texts containing Islamic discourses in the traditional Balinese literature belong to the Old Balinese literature (kesusastraan Bali purwa) rather than the Modern Balinese literature (kesusastraan Bali anyar). The most striking phenomenon in the existence of the texts of Islamic discourses in the traditional Balinese literature is their relationship to other texts. Explicitly, several texts in their manuscripts direct their readers in such a way that they will consider them related to other texts. In other words, the texts with Islamic discourses in the traditional Balinese literature are the transformed ones reflecting the fact of intertextuality. This present study was intended to give a general picture of the intertextual relationship of the texts with Islamic discourses to other texts; their relationship to the texts within the discursive scope of the Balinese culture and the other texts which belong to the treasures of the traditional Javanese literature and the Old Malay literature.  
THE FUNCTIONING OF IRONIES FOR AESTHETIC EFFECT IN ROALD DAHL’S SHORT STORY THE LANDLADY Resen, I Wayan; Kutha Ratna, Nyoman; Darma Putra, I Nyoman; Mbete, Aron Meko
e-Journal of Linguistics Vol. 8. Juli 2014 No.2
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Artikel ini membicarakan tentang efek estetis yang dicapai melalui berfungsinya ironi yang hadir secara dominan pada cerita pendek The Landlady karya Roald Dahl. Ironi dalam berbagai tipe dan penggunaannya dalam cerita pendek ini berhasil membangun efek ketegangan yang intens pada pembaca sehingga pembaca menjadi penasaran mengenai apa yang akan terjadi selanjutnya. Ketegangan terjadi karena tatkala pembaca dengan jelas melihat keterancaman Billy Weaver sebagai calon korban pembunuhan oleh nyonya rumahnya, Billy Weaver sendiri yang langsung berhadapan dengan nyonya rumahnya justru tidak menyadari niat buruk di balik keramahtamahan nyonya rumahnya itu. Dengan demikian, Billy Weaver pun tidak mengambil kesimpulan seperti yang diharapkan pembaca tentang niat negatif nyonya rumahnya walaupun sinyal-sinyal keterancamannya sudah semakin berakumulasi dari sikap dan prilaku nyonya rumahnya yang jelas terbaca dari balik sikap manis yang dihadirkan di permukaan. Estetika ironi ini terbangun bukan saja melalui sikap dan prilaku serba ironis nyonya rumah tersebut, tetapi juga melalui kesenjangan kesadaran yang ada antara Billy Weaver dan pembaca. Kondisi ironis ini bersumber pada kehidupan bermuka dua nyonya rumah, yakni prilaku yang seolah-olah sangat baik di permukaan namun sesungguhnya sadistik di balik itu. Ketakterdugaan sikap dan prilaku nyonya rumah ini mengejutkan dan menegangkan pembaca. Sesungguhnya, ketegangan pembaca bertambah intens ketika mendapati Billy Weaver tetap lugu-lugu (?innocent?) saja di hadapan nyonya rumahnya yang semakin mencengkeramkan muslihatnya. Pada keterkejutan dan ketegangan akibat prilaku serba ironis nyonya rumah ini dan pada ketidaksabaran pembaca terhadap kepolosan Billy Weaver inilah terletak estetika cerita pendek ini.
GEGURITAN (MANUSCRIPT) OF I GEDE BASUR AND I KETUT BUNGKLING WRITTEN BY KI DALANG TANGSUB: INTERTEXTUAL AND RECEPTIONAL ANALYSIS Suardiana, I Wayan; Kutha Ratna, Nyoman; Cika, I Wayan; Suastika, I Made
e-Journal of Linguistics Vol. 3. Juli 2009 No. 2
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This study employs the texts of I Gede Basur and I Ketut Bungkling contained inthe text of Kidung Prembon (abbreviated into KP) as the data source to explain theintertextual relationship and receptive process of the texts of Geguritan I Gede Basur(abbreviated into GIGP) and Geguritan I Ketut Bungkling (abbreviated into GIKB)written by Ki Dalang Tangsub. The reason is that when this study was conducted theneither the text of GIGB nor GIKB written by the authoritative Ki Dalang Tangsub wasfound. Then the text of KP has multiple functions; on one side, as an existing text, it isassumed to contain the texts of GIGB and GIKB written by the authoritative Ki DalangTangsub, and on the other side, it is a receptive text of the texts of GIGB and GIKBwritten by Ki Dalang Tangsub.The theories of intertexts, reception and discourse were used as the means ofanalysis in this study. The theory of intertexts could reveal the historical process of thetexts of GIGB and GIKB written by Ki Dalang Tangsub and the creation process of thetext of KP. The theory of reception was basically used to explain the process of how thereaders gave responses to the texts of GIGB and GIKP written by Ki Dalang Tangsub.The process of how the readers gave responses was revealed by the text of KP (in clockstories) as well as the other individual texts.Intrinsically, the texts of GIGB and GIKB written by Ki Dalang Tangsub giveparticular colors to the texts of the responses given, as Pupuh/Tembang Ginada (strophe)is entirely adopted in the texts of responses given the readers making the particularcharacteristics of the hypogram texts compared to the following texts clear. Havingmagical and social critical themes, many hyperboles, similes and sarcasms are used in thetexts of GIGB and GIKB written by Ki Dalang Tangsub. The plots of the texts of GIGBand GIKB are made up of 28 big sequences and 29 small sequences with the maincharacters are I Gede Basur and I Ketut Bungkling (Mantri as one of the characters).
SHAPE OF FEMININITY IN THE TEXT OF GEGURITAN (PHILOSOPICAL VERSE) IN BALI: ANALYSIS OF FEMINISM Karmini, Ni Nyoman; Kutha Ratna, Nyoman; Weda Kusuma, I Nyoman; Suarka, I Nyoman
e-Journal of Linguistics Vol. 3. 1 Januari 2009 No. 1
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

The object of this study is Balinese traditional literature which is the form of geguritan(philosophical verse). The reason why such texts are used as the object of the study is that theycontain very complex and interesting narrations about feminism. The objectives of this studyare to find out the formal and narrative structure of the texts and to describe the shape offemininity in the texts and its relevance to the lives of Balinese women who are Hindufollowers in the society. The objectives are all at once the answers to the problems of the study.The theory applied is that of feminism which emphasizes the concept ofRadical-Cultural Feminism. This study is a qualitative one of which the data were collected bydocumentation method, that is, by the techniques of note taking, observation and interview. Thedata were analyzed using the formal method in accordance with literature studies.There were nine geguritan (philosophical verses) which were used as the object of thestudy. From the formal structural analysis, the pupuh (strophe) used, its function and literarystyle could be identified. From the content, religious and amusement functions could beidentified. From the narrative structural analysis, it could be identified that the plot waschronological and sorot balik (backward directed); the characters and characterization weredescribed to express extraordinary ability, which was based on Hinduism, while the theme wasdescribed to express the application of panca crada (the five principles in Hinduism). Therewere seven findings as far as the analysis of the text is concerned: they are: (1) the educatedwomen could determine their attitudes, make decisions, show prestige and maintain theirdignity; (2) the women in the texts had extraordinary power. This means that the women werenot weak. Therefore, the stereotype that women were weak was neglected; (3) the educatedwomen who used Hinduism as the reference could become the men?s power; (4) the womenwho could become the men?s power could be the centre or the subject of the events undergoneduring their lives; (5) the women?s ability was similar to the men?s and they could show theirability; (6) the shape of femininity in the texts was in accordance with wadhu tatwa ( a type ofphilosophy ) and the struggle of Radical Cultural Feminism; (7) it turned out that the theory offeminism could be used for analyzing the traditional literature.
EDUCATIONAL VALUES OF MUNANESE FOLKSONG: A LITERARY ANTHROPOLOGY STUDY laepe, Aderlaepe; Suastika, I Made; Kutha Ratna, Nyoman
e-Journal of Linguistics Vol 11 No 1 (2017): eJL-January
Publisher : Doctoral Studies Program of Linguistics of Udayana University Postgraduate Program

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/eJL.2017.v11.i01.p04

Abstract

Munanese folksong is chanted by Munanese people in daily life. Munanese community is an indigenous ethnic in South East Sulawesi besides Tolakinese, Butonese, and Moronenese.  The folksong is classified into three types, namely (1) kau-kaudara, (2) lagu ngkodau, and (3) kabhanti. They are distincted by rhythm and tempo, text organization, and word choices. Rhythm of kau-kaudara is similar to cha-cha song with a quite fast tempo, lagu ngkodau resembles pop song with a slow tempo, and kabhanti is like country song with a medium tempo. The text of kau-kaudara is organized as a poetry; lagu ngkodau as a lyrical poetry; and kabhanti as a pantun karmina (a two-line traditional verse). The most word choices in kau-kaudara songs are animal, game, and non sense categories, but in lagu ngkodau and kabhanti are marine, environment, and cosmos phenomena. Due to Munaneses community status before the middle of 20th century as a illiterate society, the folksong was treated as a social medium. Members of the community used it to express every thing both individual and collective affairs. Related to the collective one, Munanese ancestor used folksong to convey morality messages that aims at making all members of the community well behaved. This circumstance endorses the existence of folksong as a medium of character building that contains educational values.