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Bambuti: Bahasa Mandarin dan Kebudayaan Tiongkok
Published by Universitas Darma Persada
ISSN : -     EISSN : 27972232     DOI : https://doi.org/10.53744/bambuti
Core Subject : Economy, Humanities, Education, Art, Social,
Arts Humanities Economics, Econometrics & Finance Languange, Linguistic, Communication & Media Social Sciences Other
Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok is an national journal published by Program Studi Bahasa Mandarin dan Kebudayaan Tiongkok, Fakultas Bahasa dan Budaya, Universitas Darma Persada, Indonesia. It covers all areas of Theoretical Linguistics, Applied Linguistics, Culture, History and Literature. Bambuti aims to serve the interests of a wide range of thoughtful readers and academic scholars of China Studies, as well as politics, social, economic and others interested in the multidisciplinary study of China Studies
Arjuna Subject : Ilmu Sosial - Kajian Budaya
Articles 55 Documents
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SHÌ (是) DALAM BAHASA CINA MODERN (现代汉语) DAN KLASIK (古代汉语) Chandra, Yulie Neila
Bambuti Vol 1 No 2 (2019): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok
Publisher : Fakultas Sastra Universitas Darma Persada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53744/bambuti.v1i2.3

Abstract

Abstract. This article describes the use of the word 是(shi) in Modern Chinese Language (Mandarin/MCL) and Classical Chinese Language (CCL), and compares them so that can understand the similarities and differences of the word, both the structure (includes the class of words) and their meaning. This study describes the symptoms of language especially in syntactic and semantic, using comparative analysis methods. The results of analysis indicates that generally the word 是(shi) in MCL is verb, functions as a predicate, and becomes a connecting verb (copula) between the subject and its object, or connects nouns, pronouns, other phrases, and expresses many meanings. Conversely, the use of 是(shi) in CCL is very rare, and generally not as verbs or copula, but as pronouns and conjuctions.
Zhongqiu Festival in Hwie Ing Kiong temple, Madiun Maunardani, Anitia Octantiar; Hartati, C. Dewi
Bambuti Vol 1 No 2 (2019): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok
Publisher : Fakultas Sastra Universitas Darma Persada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53744/bambuti.v1i2.4

Abstract

Abstract. This paper discusses about one of Chinese festival, namely Moon Cake Festival. This festival is celebrated by Chinese people in Madiun, East Java in Hwie Ing Kiong temple. At Hwie Ing Kiong temple the Zhong Qiu festival is still held as a form of maintaining Chinese culture, and inherit to their future generation. Through the ritual id dedicated to Mazupo, the sea guardian deity as a main deity in this temple and also to the moon deity, Chinese people in Madiun maintain the existence of this festival. The ritual is held in night after that people enjoy the moon cake outside the temple. The festival still exist up to now because it is well acculturated with local culture.
Culture Hybridity in Padi Lapa Temple, Jakarta Azizi, Haikal Hibatul; Hartati, C. Dewi
Bambuti Vol 1 No 2 (2019): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok
Publisher : Fakultas Sastra Universitas Darma Persada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53744/bambuti.v1i2.5

Abstract

Abstract. Padi Lapa temple is located in west Jakarta. It is different with the other temple. The peak time for this temple is Thursday night. Thursday night is considered sacred time for people who often come here. In this temple there is a special offering place for Wali Songo which is only open on Thursday night. There is one statue that is above the altar, the statue is a statue of the grandson of Sunan Gunung Jati, Prabu Siliwangi, who is depicted as a tiger. The offerings is like Kejawen such as lisong, seven forms of flowers and incense. Special rituals were preserved. It can be seen that the tumpengan is seen on Eid al-Fitr, Eid al-Adha and the Prophet's birthday which are usually equated with the night of one sura. In the evening, a heirloom object that is placed or donated to the temple is sanctified by a pilgrim who studies or has sufficient Islamic knowledge.
Chinese New Year in Siu San Teng Temple, Jambi Safari, Muhamad; Hartati, C. Dewi
Bambuti Vol 1 No 2 (2019): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok
Publisher : Fakultas Sastra Universitas Darma Persada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53744/bambuti.v1i2.6

Abstract

Abstract. The existence of Jambi Chinese cannot be separated from the Siu San Teng temple. Siu San Teng Temple is the oldest temple in Jambi which was built in 1805 under the name Hok Tek temple with the main god Hok Tek Tjeng Sin. Siu San Teng Temple as a place of Tridharma worship. As a place of worship for Tridharma, this temple becomes a place of worship during ce it cap go, namely prayers every 1st and 15th of the Chinese calendar. The Chinese New Year celebration at Siu San Teng temple is marked by the Chinese New Year ceremony itself, namely the installation of Chinese New Year candles, prayers to Tian, ​​the main god Hok Tek Tjengsin, the goddess Kwanyim, and the goddess Zhu Sheng Niang Niang. Apart from praying to these gods, the fangsheng tradition is also carried out as a form of getting rid of bad luck and welcoming the arrival of a better new year. The animal released in this tradition is the sparrow. The Chinese New Year at Siu San Teng Temple is also enlivened by liong and lion dance performances.
LANDSCAPES OF CITY AND LANSIA THAT SUFFER (THE CASE OF FATHER'S SPION GLASS, HUANG YONGMEI WORK) Gunawan, Hin Goan
Bambuti Vol 1 No 2 (2019): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok
Publisher : Fakultas Sastra Universitas Darma Persada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53744/bambuti.v1i2.7

Abstract

Abstract. City is a symbol of modernity. The revival of the Urban Fiction genre in contemporary Chinese literature is driven by writers of the 1970s. It portrays not only urban landscapes with the beauty in their works, but also exposes the souls that suffer in urban spaces. As a symbol of a modern, advanced and civilized life portrayed in Huang Yongmei's short story "Rearview Mirror", it has a dark side. Various changes that move to bring progress do not necessarily change the fate and fortune of urban people who live in it. Instead of being able to enjoy a comfortable and orderly urban space, an elderly former truck driver in the text seems to be moving back in time. Huang Yongmei, literary winner of the 7th Lu Xun literary award (2018), builds allegories about denial of the progress or modernity of today's China. The Rearview Mirror property serves as a kind of reminder of how many parts of past lives have been left behind as we go fast in the flow of change. The magnitude of the progress and the change can only be measured by constantly looking back to its rickety and worn-out past. The suffer of the city people in old age is symbolized with the scene of going backwards, as a healing therapy for the abnormal spine due to sitting behind the wheel for too long. When the city people rush over each day, this old man goes backwards. The complexity of big city problems make the elderly desperate. Widower in old age, deceived by false loyalty, habit of going back to the past have turned into a swimming backstroke. Huang Yongmei has arrived to the point of firmness by keeping the urban’s subject away from the sparkling city life that just makes the little people suffer. The Father's Rearview Mirror text asserts that the urban subject who suffers in his last days leave his hometown, for good.
THE IDIOMATIC MEANING OF 成语 CHENGYU WHICH HAS NATURAL ELEMENTS Veronica, Desy; Chandra, Yulie Neila
Bambuti Vol 2 No 1 (2020): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok
Publisher : Fakultas Sastra Universitas Darma Persada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53744/bambuti.v2i1.8

Abstract

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.
NON-EQUIVALENCE TRANSLATION AT WORD LEVEL FROM MANDARIN TO INDONESIAN IN HIGHSCHOOL/MA MANDARIN TEXTBOOK Wijayanti, Gustini
Bambuti Vol 2 No 1 (2020): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok
Publisher : Fakultas Sastra Universitas Darma Persada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53744/bambuti.v2i1.9

Abstract

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.
ACCULTURATION IN GOD'S BIRTHDAY CEREMONY KELENTENG SHIA DJIN KONG, JONGGOL Desprosianasari, Ludovika; Hartati, C. Dewi
Bambuti Vol 2 No 1 (2020): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok
Publisher : Fakultas Sastra Universitas Darma Persada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53744/bambuti.v2i1.10

Abstract

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.
REMEMBERING XIAO SHAN IN BA JIN ESSAYS THE WOUNDS OF THE CULTURAL REVOLUTION Alkaff, Nadira; Gunawan, Hin Goan
Bambuti Vol 2 No 1 (2020): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok
Publisher : Fakultas Sastra Universitas Darma Persada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53744/bambuti.v2i1.11

Abstract

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.
CYBERLITERATURE IN CHINA: LITERATURE AS INDUSTRY Wati, Wati; Gunawan, Hin Goan
Bambuti Vol 2 No 1 (2020): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok
Publisher : Fakultas Sastra Universitas Darma Persada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53744/bambuti.v2i1.12

Abstract

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.

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