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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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TRADISI SEMBAHYANG CIOKO (鬼節Guǐ Jié) DI PAN KHO BIO, BOGOR CIOKO (鬼節Guǐ Jié) TRADITION IN PAN KHU BIO, BOGOR Wahyuni, Ni Putu Diah; Hartati, C. Dewi
Bambuti Vol 2 No 2 (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.v2i2.14

Abstract

Cioko as one of the ceremonial traditions in Chinese culture has a meaning as a sense of devotion to the ancestors for the Chinese community. They believe that in this world humans do not live alone and their ancestors can still witness from a different realm. Prayers are performed to remember the ancestors and so that the ancestors are calm in their nature. This prayer also aims to ask for protection from their ancestors. Similarly, the Chinese in Bogor held the Cioko ceremony at a temple in Bogor, namely Pan Khu Bio. In addition to the Chinese community who held the Cioko celebration, the people who lived around Pan Kho Bio also helped during Cioko. Starting from preparation, helping decorate the temple to cleaning the temple after Cioko finished. Despite differences in beliefs, residents help each other at the temple and form a social bond.
TRADISI PENGHORMATAN DEWA DALAM MASYARAKAT TIONGHOA BEKASI Hartati, C. Dewi
Bambuti Vol 2 No 2 (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.v2i2.15

Abstract

This article discusses the practice of the cult of temple”s deity. This cult is said to be a reinvented tradition. The tradition is created because it is formed by the elements that come from the original tradition. By tracing the process of discovering the Hobsbawm tradition from the sacred and profane aspects of Durkheim and its relation to totemism, it is evident that this tradition has a new form and function. The original function of tradition was to strengthen identity, but the new function of the reinvented tradition appears to be an integrative function. The reinvented tradition also occurs in an effort to attract public interest or attention to make it more popular in the community. The temple community carries out an invented traditional process so that the tradition of the cult becomes more attractive, and is preferred more popular, through the appearance of entertainment shows at festivals.
The Modal Particles in the Storybook 原我这么棒 Yuánlái Wύ Zhème Bàng By Li Huizhen Partikel Modalitas dalam Buku Cerita 原来我这么棒 Yuánlái Wǒ Zhème Bàng Karya Li Huizhen Handayani, Yayan Yunita; Chandra, Yulie Neila
Bambuti Vol 2 No 2 (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.v2i2.16

Abstract

Particles in Mandarin can be divided into three kinds, namely structural, aspectual, and modality or modal particles. The particles have their own functions, as well as having grammatical meanings. This article discusses the particles of modality in the children's storybook entitled原我这么棒(Yuánlái Wύ Zhème Bàng) 'I'm So Great' by Li Huizhen. Particles of modality are widely used in the context of the conversation in the storybook, namely 啊 a, 吧 ba, 啦la, 了le, 啰luo, 吗ma, 嘛ma, 哪na, 呢ne, 呀ya, 哟yo. Through distributional analysis methods, as well as with the technique of evaporation and transfer analysis, the modality particles can be matched with phatic particles in Indonesian, such as 'ya', 'lah', 'sih', 'lho', and 'dong' which are generally located behind sentences, and some behind clauses. However, the meaning of the particles is uncertain and unsteady because each depends on the context of the sentence or the meaning of the sentence. The presence of modality particles in a sentence can change the meaning of a sentence, its type of sentence, or its language function.
The Use of Fengshui in Keraton Kasepuhan Cirebon Auliasari, Nita; Hartati, C. Dewi
Bambuti Vol 2 No 2 (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.v2i2.17

Abstract

This article shows the application of fengshui in Keraton Kasepuhan. The application of fengshui also shows the acculturation of Chinese culture in Kertaon Kasepuhan. This study uses a qualitative research method which data collection uses literature study, interviews, observation, and documentation. The results showed that Keraton Kasepuhan applied fengshui at the location of the palace, namely its position facing the sea with its back to the mountain. The shape of the building has the advantageous shape of a rectangle. The fengshui elements used in Keraton Kasepuhan building are in the form of color, room lighting, the symbol of plants and animals, and fengshui decorative symbols. The application of fengshui at Keraton Kasepuhan is carried out in order to get the benefits of balance or harmony.
Narasi-narasi Kecil (Mikronarasi) dalam genre Fiksi Pedesaan Pendekatan Posmodernisme terhadap Cerpen Menghilang Bersama Angin karya Xing Qingjie Konistiawati, Stevani; Gunawan, Hin Goan
Bambuti Vol 2 No 2 (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.v2i2.18

Abstract

The short story text Disappearing with the Wind by Xing Qingjie as a representation of the rural fiction genre in Chinese Literature attempts to refute the grand narratives of modern fiction. For the author of the text, the power of modernity is not eternal, but can be subverted or deconstructed by giving acknowledgment to the small voices represented by Mr Zou, Sha Xiaobao, and the idiot woman in Disappearing with the Wind. This study uses a postmodernism approach to map the elements of disorientation, abnormality and small voices in that short story. Affirmation of the micronarrative is a way of working of postmodern fiction in challenging the power of modernity with the grand narrative as its main basis. For Xing Qingjie, reality does not always depend on big people, famous people, but can also be celebrated by village people, unusual people, including people who are marginalized in modern life. In his lawsuit, the presence of this text will emphasize that there is no central, no peripheral. All can be the center, and all can also be the periphery. Rural fiction pioneered by Lu Xun proves that denial of the power of grand narratives is possible in the same way that Xing Qingjie has done in a number of his works, including the short story Disappearing with the Wind.
SHÌ (是) DALAM BAHASA CINA MODERN (现代汉语) DAN KLASIK (古代汉语) Yulie Neila Chandra
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 | Full PDF (490.386 KB) | 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 Anitia Octantiar Maunardani; C. Dewi Hartati
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 | Full PDF (569.676 KB) | 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 Haikal Hibatul Azizi; C. Dewi Hartati
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 | Full PDF (319.627 KB) | 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 Muhamad Safari; C. Dewi Hartati
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 | Full PDF (462.302 KB) | 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) Hin Goan Gunawan
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 | Full PDF (250.755 KB) | 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.

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