Bambuti: Bahasa Mandarin dan Kebudayaan Tiongkok
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
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<![CDATA[SHÃŒ (是) DALAM BAHASA CINA MODERN (现代汉è¯) DAN KLASIK (å¤ä»£æ±‰è¯) ]]>
<![CDATA[Chandra, Yulie Neila]]>
<![CDATA[ Bambuti Vol 1 No 2 (2019): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok ]]>
Publisher : <![CDATA[Fakultas Sastra Universitas Darma Persada ]]>
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DOI: 10.53744/bambuti.v1i2.3
<![CDATA[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.]]>
<![CDATA[Zhongqiu Festival in Hwie Ing Kiong temple, Madiun ]]>
<![CDATA[Maunardani, Anitia Octantiar]]>;
<![CDATA[Hartati, C. Dewi]]>
<![CDATA[ Bambuti Vol 1 No 2 (2019): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok ]]>
Publisher : <![CDATA[Fakultas Sastra Universitas Darma Persada ]]>
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DOI: 10.53744/bambuti.v1i2.4
<![CDATA[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.]]>
<![CDATA[Culture Hybridity in Padi Lapa Temple, Jakarta ]]>
<![CDATA[Azizi, Haikal Hibatul]]>;
<![CDATA[Hartati, C. Dewi]]>
<![CDATA[ Bambuti Vol 1 No 2 (2019): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok ]]>
Publisher : <![CDATA[Fakultas Sastra Universitas Darma Persada ]]>
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DOI: 10.53744/bambuti.v1i2.5
<![CDATA[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.]]>
<![CDATA[Chinese New Year in Siu San Teng Temple, Jambi ]]>
<![CDATA[Safari, Muhamad]]>;
<![CDATA[Hartati, C. Dewi]]>
<![CDATA[ Bambuti Vol 1 No 2 (2019): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok ]]>
Publisher : <![CDATA[Fakultas Sastra Universitas Darma Persada ]]>
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DOI: 10.53744/bambuti.v1i2.6
<![CDATA[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.]]>
<![CDATA[LANDSCAPES OF CITY AND LANSIA THAT SUFFER (THE CASE OF FATHER'S SPION GLASS, HUANG YONGMEI WORK) ]]>
<![CDATA[Gunawan, Hin Goan]]>
<![CDATA[ Bambuti Vol 1 No 2 (2019): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok ]]>
Publisher : <![CDATA[Fakultas Sastra Universitas Darma Persada ]]>
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DOI: 10.53744/bambuti.v1i2.7
<![CDATA[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.]]>
<![CDATA[SHÌ (是) DALAM BAHASA CINA MODERN (现代汉语) DAN KLASIK (古代汉语) ]]>
<![CDATA[Yulie Neila Chandra]]>
<![CDATA[ Bambuti Vol 1 No 2 (2019): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok ]]>
Publisher : <![CDATA[Fakultas Sastra Universitas Darma Persada ]]>
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DOI: 10.53744/bambuti.v1i2.3
<![CDATA[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.]]>
<![CDATA[Zhongqiu Festival in Hwie Ing Kiong temple, Madiun ]]>
<![CDATA[Anitia Octantiar Maunardani]]>;
<![CDATA[C. Dewi Hartati]]>
<![CDATA[ Bambuti Vol 1 No 2 (2019): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok ]]>
Publisher : <![CDATA[Fakultas Sastra Universitas Darma Persada ]]>
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DOI: 10.53744/bambuti.v1i2.4
<![CDATA[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.]]>
<![CDATA[Culture Hybridity in Padi Lapa Temple, Jakarta ]]>
<![CDATA[Haikal Hibatul Azizi]]>;
<![CDATA[C. Dewi Hartati]]>
<![CDATA[ Bambuti Vol 1 No 2 (2019): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok ]]>
Publisher : <![CDATA[Fakultas Sastra Universitas Darma Persada ]]>
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Full PDF (319.627 KB)
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DOI: 10.53744/bambuti.v1i2.5
<![CDATA[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.]]>
<![CDATA[Chinese New Year in Siu San Teng Temple, Jambi ]]>
<![CDATA[Muhamad Safari]]>;
<![CDATA[C. Dewi Hartati]]>
<![CDATA[ Bambuti Vol 1 No 2 (2019): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok ]]>
Publisher : <![CDATA[Fakultas Sastra Universitas Darma Persada ]]>
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DOI: 10.53744/bambuti.v1i2.6
<![CDATA[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.]]>
<![CDATA[LANDSCAPES OF CITY AND LANSIA THAT SUFFER (THE CASE OF FATHER'S SPION GLASS, HUANG YONGMEI WORK) ]]>
<![CDATA[Hin Goan Gunawan]]>
<![CDATA[ Bambuti Vol 1 No 2 (2019): Bambuti : Bahasa Mandarin dan Kebudayaan Tiongkok ]]>
Publisher : <![CDATA[Fakultas Sastra Universitas Darma Persada ]]>
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Full PDF (250.755 KB)
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DOI: 10.53744/bambuti.v1i2.7
<![CDATA[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.]]>
