Jumantara: Jurnal Manuskrip Nusantara

Budaya Aksara Kawi Sunda

Hady Prastya — 2024-06-04

The bias of the print tradition in Sundanese society is still colored by the assumption that the script on Sundanese lontar has a different form from the script on gebang leaves. In fact, Sundanese script, both in gebang and lontar, is essentially the same. Therefore, this paper will discuss the two codices used in the ancient Sundanese tradition, namely gebang and lontar, and try to prove that these two codices are connected and have continuity. The approach used is philological studies with an emphasis on the use of codicological steps. Because the script is also closely related, a paleographic approach is also used, so that a general picture of the tradition of writing texts in Sunda in the past can be seen. The latest Sundanese script, the Sundanese Baku script, is also mentioned as a comparison, and hopefully an improvement.

Menjadi Bodoh Karena Terlalu Pintar: Kritik dan Mistisisme dalam Kidung Cowak

Budi Santosa — 2024-06-04

“Being stupid for being too smart” is the opening verse written in Kidung Cowak. A statement with a satirical and sarcastic tone displays an unceremonious irony, delivered by the author as the opening line of his work. This is something that is not commonly found in a work of Kawi literature because almost half of the content is criticism. The author of Kidung Cowak is, by consensus, estimated to be associated with the name of Ida Padanda Sakti Talaga, who is one of Dang Hyang Nirartha’s children. Satire and sarcasm are attempts by the author to emphasize the core of his criticism. Not only does it contain criticism, but the other half of Kidung Cowak also contains various symbols about mystical and esoteric teachings that are still closely related to his criticism delivered in an euphemistic style. In addition to presenting a transcription of Kidung Cowak, this article also provides an in-depth analysis and interpretation of the text using Jürgen Habermas’s critical hermeneutics.

Produksi Sosial dalam Peta Pemikiran Janet Wolff dan Contoh Penerapannya dalam Kajian Filologi

Riqko Nur Ardi Windayanto — 2024-06-04

This article aims to map the social production theory conceptually by Janet Wolff and its application in philological studies by taking the Hikayat Indraputra as an example of an object of analysis. Conceptually and analytically social production theory covers the aesthetic codes that set the literature, the ideology, the cultural production aspects, and the meaning as optional discussion. In this theory, the manuscript which consists of literature text is understood as a social product or collective product so that the analysis relates the text and manuscript, the text and context, and the textological analysis and codicological analysis. Methodologically this theory is applied, especially, by using the dialectical method that by Wolff is built on historical materialism. Manuscripts and texts are very diverse. Therefore, using this theory requires certain adjustments to the manuscripts and texts to be studied so that the theory is not applied haphazardly. Ultimately, with its broad concept offering, this theory can be used to carry out one of the tasks in philological studies, namely interpreting or interpreting edited text, and continuously developing the philological studies.

Ritual Olah Rasa dalam Pelaksanaan Digitalisasi Manuskrip di Masyarakat AKUR Sunda Wiwitan, Kuningan, Jawa Barat

Tedi Permadi — 2024-06-04

The Sundanese AKUR community is a community institution with a royal character and makes Paseban Tri Panca Tunggal as the center of its government. They have many manuscripts whose conditions are threatened with damage so that they need to be immediately saved physically and their contents, among others by curative preservation of digital techniques. This study was conducted with a qualitative descriptive method and aims to find out the meaning of sense in manuscript digitization activities in Paseban Tri Panca Tunggal. The approach in this study is an anthropological approach with the researcher as an active participant involved in all activities, from the planning stage to reporting to the supporting institutions. The data used are primary data, namely documents issued by AKUR Sunda, observations, and direct interviews with the extended family of AKUR Sunda. The data review is presented with descriptive techniques based on the classification of data acquisition. The conclusion is that the olah rasa or samadi is a special ritual in the AKUR Sunda Wiwitan belief. This ritual has both vertical and horizontal dimensions, a concrete relationship between humans and their God and humans with fellow God's creations. The offerings sesajen or sarandu are symbols presented in a concrete form of prayer, as an expression of gratitude and a form of request expressed to God as the ruler of the universe.

Penggambaran Bentang Alam dalam Serat Rama dan Kakawin Ramayana

Tio Cahya Sadewa — 2024-06-04

Landscapes are natural scenery or areas with various forms of the earth's surface (mountains, rice fields, valleys, rivers, and so on) which together constitute a single entity. Many depictions of landscapes are recorded in old literary works. One of the Javanese literary works that records the depiction of landscapes is Serat Rama. Serat Rama is a new Javanese literary work composed by R. Ng. Yasadipura in Surakarta which is derived from the Kakawin Ramayana in Old Javanese. Both texts tell the story of Prabu Rama's journey to rescue his wife, Dewi Sinta, who was kidnapped by Prabu Rahwana in Alengka. During his journey, Prabu Rama has passed through various landscapes accompanied by obstacles and obstacles. This paper attempts to answer the problem, namely how is the landscape depicted in Serat Rama and Kakawin Ramayana? By knowing the depiction of landscapes in old literary works, there will be a little picture for today's readers about natural conditions in the past. This paper applies a philological research method with an ecocritical approach. Data collection was done by inventorying the stanzas in Serat Rama and Kakawin Ramayana that describe landscapes to be translated, described, and compared. The depictions of landscapes in Serat Rama and Kakawin Ramayana were sorted into (1) depictions of forests, (2) depictions of mountains, and (3) depictions of waters. The results show that the depiction of landscapes in Kakawin Ramayana appears more detailed and some are still influenced by the Indian natural setting. In Serat Rama, the author tries to depict landscapes by localizing them to suit the Javanese natural setting. There are several names of landscapes that exist in Kakawin Ramayana but are not found in Serat Rama. There are also some differences in mentioning the names of landscapes that arise due to word-cutting errors and different interpretations when recomposing the kakawin.