THEMATIC STRUCTURES AND THEIR DEVELOPMENTS OF THE PANTUN IN WEDDING CEREMONY OF THE DELI MALAY.
THEMATIC STRUCTURES AND THEIR DEVELOPMENTS
OF THE PANTUN IN WEDDING CEREMONY OF THE DELI
MALAY
A THESIS
Submitted to English Applied Linguistics Study Program In Partial Fulfillment of the Requirements for the Degree of Magister
Humaniora
By:
BALQIS WANDIRA
Registration Number: 8126 112 004
ENGLISH APPLIED LINGUISTICS STUDY PROGRAM POSTGRADUATE SCHOOL
STATE UNIVERSITY OF MEDAN 2014
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THEMATIC STRUCTURES AND THEIR DEVELOPMENTS
OF THE PANTUN IN WEDDING CEREMONY OF THE DELI
MALAY
A THESIS
Submitted to English Applied Linguistics Study Program In Partial Fulfillment of the Requirements for the Degree of Magister
Humaniora
By:
BALQIS WANDIRA
Registration Number: 8126 112 004
ENGLISH APPLIED LINGUISTICS STUDY PROGRAM POSTGRADUATE SCHOOL
STATE UNIVERSITY OF MEDAN 2014
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ABSTRACT
BALQIS WANDIRA. Thematic Structures and Their Developments of the Pantun in the Wedding Ceremony of the Deli Malay. A thesis. English Applied Linguistics Study Program, Post Graduate School, State University of Medan, 2014.
This study deals with thematic structures and their developments of the pantun in the Deli Malay Wedding Ceremony. The specific objectives of this study are (1) to investigate the elements of thematic structures used in pantun of the Deli Malay wedding ceremony, (2) to investigate the types of thematic developments used in
pantun of the Deli Malay wedding ceremony, (3) to describe the way of thematic
structures and their developments used in pantun of the Deli Malay wedding ceremony. This study is qualitative research, the data are the utterances which obtained from the mediators in hailing the groom written in Bahasa Indonesia and the source of data are the pantun used in the Deli Malay wedding ceremony, handy cam is used as the instrument to collect the data needed. Some findings are drawn, firstly there are four elements of thematic structures, namely marked simple theme and unmarked simple theme, marked multiple themes and unmarked multiple themes. Secondly there are six types of thematic developments which used in Malay pantun of wedding ceremony namely: constant theme, constant rheme, linear theme, linear rheme, split rheme, and zig-zag. The last is the marked simple theme and zig-zag are dominantly used in pantun of the Deli Malay wedding ceremony.
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ABSTRAK
BALQIS WANDIRA, Struktur dan Pengembangan Tematik pada Pantun Acara Pernikahan Melayu Deli. Tesis. Program Linguistik Terapan Bahasa Inggris. Pascasarjana Universitas Negeri Medan 2014.
Penelitian ini berkaitan dengan struktur dan pengembangan tematik pada pantun
pada acara pernikahan Melayu Deli. Tujuan khusus dari penelitian ini adalah (1) untuk menelusuri unsur-unsur struktur tematik yang digunakan pada pantun acara pernikahan Melayu Deli, (2) untuk menelusuri jenis-jenis pengembangan tematik yang digunakan pada pantun acara pernikahan Melayu Deli, (3) untuk menggambarkan cara struktur dan pengembangan tematik digunakan pada pantun acara pernikahan Melayu Deli. Penelitian ini adalah penelitian qualitative, adapun data adalah berupa ucapan yang diperoleh dari pepantun dalam sesi menyambut pengantin pria yang tertulis dalam Bahasa Indonesia dan sumber data adalah pantun itu sendiri, kamera video digunakan untuk mengumpulkan data yang dibutuhkan. Beberapa penemuan digambarkan sebagai berikut, pertama ada empat unsur dalam struktur tematik yaitu tema lazim sederhana tema dan tidak lazim sederhana, tema lazim majemuk dan tema tidak lazim majemuk. Yang kedua ada enam jenis pengembangan tematik yaitu tema konstan, rema konstan, tema linear, rema linear, rema split, dan sungsang. Diantara keenam pengembangan tematik, sungsang adalah yang paling dominan muncul di pantun Melayu karena pantun dibentuk dengan menyamakan bunyi dan jumlah kata bukan hubungan setiap bait dan diantara keempat unsut struktur tematik maka tema tidak lazim sederhana yang paling dominan.
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ACKNOWLEDGEMENT
First of all, the writer would like to thank to God Allah the Al-mighty who has given her blessing and merciful until she was able to finish writing this thesis.
In the process of writing this thesis, the writer has to confess that many people have given her much help, advice and support, a very special gratitude would be addressed to some distinguished people as below:
First gratitude belongs to the first adviser of mine is Prof. Amrin Saragih, MA., Ph.D., the second is Dr. Siti Aisyah Ginting, M. Pd who advised her to correct and gave some comments and suggestions.
Third gratitude, the writer likes to express her thanks to the head and secretary of English Applied Linguistics Study Program, Prof. Dr. Busmin Gurning, M.Pd and Dr. Sri Minda Murni, M.S. who also became her reviewers. The director advice of postgraduate school of state university of Medan, and great thanks also to the experienced lectures who taught and educated her along three semesters.
Fourth, thanks are due to the three reviewers of hers besides two of written before there is one more reviewer of hers namely: Prof. Dr. Sumarsih, M.Pd who provided her with the most useful critics and constructive suggestions.
Fifth, the writer like to express her special thanks and appreciation to the head of environment XIII Blok 1 Griya Martubung (Kepling) Edi Makmur, and
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also to the two mediators of Deli Malay wedding ceremony namely: Idham Ibrahim and Udin.
Sixth gratitude belongs to her beloved mother Dra. Hj. Nurbaiti Nst who always supports her by giving motivation, suggestion and love. Her loving brothers: Faisal Ahmadi, Muhammad Thamrin and Rizal Affandi. the writer does not forget to thank to her special brother; Rilwan Hadinata, S.Pd for all spirits and suggestion.
Last thanks but not the least, the writer’s classmate LTBI B-1 especially; Yulie Ayu Utari, S.Pd., Irma Khoirat Daulay, S.S., Bambang Nur Alamsyah Lubis, S.Pd., Fandy Zulmi, S.Pd., Citra Latiffani, S.Pd., Syafrina Panjaitan, S.Pd for their sincere, comfort, love and patience.
Medan, May 2014 The researcher,
BALQIS WANDIRA ii
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TABLE OF CONTENTS
Acknowledgement ... i
Abstract ... iii
Table of Contents ... iv
List of Tables ... vi
List of Appendixes ... vii
CHAPTER I : INTRODUCTION ... 1
1.1The Background of the Study ... 1
1.2The Problems of the Study ... 7
1.3The objectives of the Study ... 7
1.4The Scope of the Study ... 8
1.5The Significance of the Study ... 8
CHAPTER II : REVIEW OF LITERATURE... 10
2.1Systemic Functional Linguistic ... 10
2.2Thematic Structures ... 13
2.2.1 Unmarked and Marked Theme ... 14
2.2.2 Simple and Multiple Themes ... 19
2.2.2.1Topical Theme ... 20
2.2.2.2Interpersonal Theme ... 20
2.2.2.3Textual Theme ... 21
2.2.3 Information Structure ... 24
2.3Thematic Developments ... 25
2.4Clause ... 31
2.5 Malay Society ... 33
2.6 Malay Language ... 35
2.7 Wedding Ceremony of Malay ... 36
2.8 The Use of Pantun in Malay Wedding Ceremony ... 39
2.9 The Nature of Pantun ... 40
2.10 The Characteristic of Pantun ... 43
2.11 Types of Pantun ... 44
2.12 Previous Relevant Studies ... 51 iv
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2.13 Conceptual Framework ... 53
CHAPTER III : RESEARCH METHOD ... 54
3.1Research Design ... 54
3.2The Data and Source of Data ... 54
3.3Instruments of Data Collection ... 55
3.4Techniques of Data Collection ... 55
3.5Technique of Data Analysis ... 56
3.6Trusworthiness of the Study ... 57
3.6.1 Credibility ... 58
3.6.2 Transferability ... 58
3.6.3 Dependebility... 59
3.6.4 Conformability ... 59
CHAPTER IV : DATA ANALYSIS, FINDING AND DISCUSSION . 61
4.1 The Data Description ... 61
4.2 Data Analysis ... 61
4.2.1 Elements of Thematic Structures ... 62
4.2.2 Types of Thematic Development ... 63
4.2.3 Thematic Structures and Developments... 64
4.3 Findings ... 67
4.4 Discussion ... 68
CHAPTER V : CONCLUSION AND SUGGESTION ... 72
5.1Conclusion ... 72
5.2Suggestion ... 73
REFERENCES ... vii
APPENDICES ... 74 v
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LIST OF TABLES
page
1. Table 2.1 The context, Meaning, Wording Relationship ... 12
2. Table 2.2 Metafunctions and Reflexes in the Grammar ... 13
3. Table 2.3 The Example of Unmarked Theme ... 15
4. Table 2.4 The Example of Marked Theme ... 15
5. Table 2.5 Marked and Unmarked Theme in Pantun ... 16
6. Table 2.6 Theme in Declarative Clause ... 17
7. Table 2.7 Theme in Interrogativetive Clause... 18
8. Table 2.8 Theme in Imperative Clause... 18
9. Table 2.9 The Example of Multiple Themes ... 23
10.Table 2.10 Components of Multiple Themes ... 24
11.Table 2.11 Grammatical Units ... 32
12.Table 4.1 The Frequency of Markedness and Simplicity ... 61
13.Table 4.2 The Percentage of Thematic Development Types ... 64
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LIST OF APPENDICES
page 1. Appendix A ... 74 2. Appendix B ... 80 3. Appendix C ... 92
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CHAPTER I
INTRODUCTION
1.1The Background of the Study
One of the oral traditions in the form of literature that exist in almost every region in Indonesia is a pantun. Most experts’ opinion stating that the pantun is the tradition of the Malay language. Therefore, the development of the pantun is relatively more advanced in areas with Malay majority language speakers. Based on the categorization of literature types, it includes the type of long poem. Pantun
is bound by some rules that must be met. Formation rules of pantun, it consists of four lines in each stanza, lines 1 and 2 are sampiran and lines 3 and 4 are the content. In addition, the prosody of the poem must have a catchy sound and orderly. Prosody in a pantun that deals with rhyme, rhythm, and verse in the poem. In a further development, the pantun has penetrated into every aspect of human life if judging by the contents or cargo. From the aspect of words choice or diction, pantun today has grown by using words familiar to the public.
Pantun is well known in Indonesia as a literature and culture of Malay,
moreover Indonesian (Bahasa Indonesia) is the official language of Indonesia. It is a standardizedregister of Malay, an Austronesia language which has been used as a lingua franca in the Indonesian archipelago for centuries. Indonesian is a standardizedregister of "Riau Malay", which despite its common name is not the Malay dialect native to Riau, but rather the Classical Malay of the Malaccan royal
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courts. Originally spoken in Northeast Sumatra, Malay has been used as a lingua franca in Indonesian archipelago for half a millennium.
The birth of the pantun is closely connected with the habits of the old society, which is not expressed forthright intentions, but by thinking or puzzles. Even in those days a lot of people who know and understand the metaphor language clever regarded as knowledgeable or clever person (Hendy, 1990: 48). Relatively long pantun rhyme, some special rhyme compared to other forms of poetry that rhymes meaning relatively more easily captured. Thus the poem is one of the most effective tools for expressing feelings.
Relation with the language of identity and character of a nation is a realization relationship. Language of a community or a nation that has been charged ideological, cultural, and social circumstances establish the identity of a nation. When face with actual problems, identity utilized in the form of characters. Indonesian national character can be built or known by the very nature of language or the use of language. One hand the use of Indonesian in the literature that suggests the existence of national character is rhyme. Apart from the issue of the development of the poem which continued until this day, there are some interesting things from an existing poem. It may be said that the old rhyme has said that power can be attributed to the character of the nation. Here are the examples of some pantun which are derived from Malay, Tapanuli, Banyuwangi as the following.
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Kalau ada sumur di ladang
If there is a well in the field
Bolehlah kita menumpang mandi
We may take a bath
Kalau ada umur yang panjang
If there is a long age
Bolehlah kita berjumpa lagi
Perhaps we can meet again
Pantun which is a part of the long form of poetry, almost equally well
known in all over the country (Archipelago), although pronounced in the local/ vernacular language. In Tapanuli it is known as Ende – Ende, for example:
Dongan tu bulan mardalan-dalan
Having journey to the moon
Iba tu saba sai mangarimbasi
I’m in the field to have harvest
Dongan dijolo ma patudu dalam
A friend forward as guide
Halak na parpudi aso mangihuti
A friend later to follow
As for the Sundanese and Javanese, it is called the Paparikan the example such as the following Paparikan in Banten language.
Jauh teu puguh nu dijugjug
It’s far no destination
Leumpang teu puguhnu diteang
Walking along no limit
Malipir dina gawir
Walking at the edge of cliff
Nyalindung dina gunung
Hiding behing the mountains
Mending keneh lara jeung wiring
It’s better to be shame and abject
Aturan jeung baraya nu masih keneh sa wangatua
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While in Banyuwangi there Pantun gandrung and around Surabaya (East Java) there Pantun Ludruk. For example is the following gandrung Pantun.
Mangan tahu dicampur lemper
Eating tofu mixed lemper
Sego rantangan sayur kecipir
I am not container of vegetable
Gak perlu ragu nek sampeyan pinter
Don’t worry if you’re clever
Kabeh rintangan yo pasti nyingkir
The whole troubles can be solved
Basically, a language which is widely used is Indonesian. Deli Malay majority said Indonesian because of its proximity to the Malay language into the mother tongue of Deli society are like the east coast region Serdang, Base Dodek, Batu bara, and Tanjung Balai, wearing Malay dialect "o" as well as in Labuhan Batu with a wide difference. In Langkat and Riau still use Malay dialect "e" which is often called maya-maya language.
Malay as one of the local language is often used in daily life. Usually in conveying message, the Malay people do not directly say but they will use pantun
as a medium to express their feelings. At present it is difficult to find someone who uses pantun as a medium to communicate in this tradition is still used in the cultural event such as Malay wedding ceremony. Every stage in this ceremony uses pantun as a means of communication.
It is seen today that the pantun practice has been disappearing from most of the Indonesian textbook content." Though the pantun has great potential to promote linguistic politeness as well Indonesian users, Pantun is one ways to convey the intent or content of the liver to others courteously, politely and not
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with harsh words. The pantun is considered polite because intentions are not addressed directly, but routed through the inclusion sampiran often unrelated to the content of the pantun contained in subsequent rows. "That is the pantun, people are taught to point across in a polite way, smooth and polite despite what would it actually convey a form of protest or criticism, when a rhyme creator sat brooding or figures out how to link the words contained in these lines sampiran with words that are in the next lines.
Then it implies that the maker of the rhymes has selected or chosen words that are used where appropriate, which is not feasible. Moreover makers also have to think rhyme or sound harmonization of the last words of two rows and two rows sampiran letters that make up rhymes. Often the rhymes maker were forced to change one of the words found in the rows and rows sampiran content so that when pronounced sounds and harmony is achieved when assessed indirectly train maker will be polite rhymes using words. "If someone just as lovers of pantun
recorded in his mind for not carelessly use words to convey meaning. If the
pantun is taught in schools, it will make students be courteous in language.
The researcher was really interested to study about pantun in the Deli Malay because pantun is not only known as the literature and culture of Malay but it is also as a great potential to build politeness among people in Indonesia. It does not work just on one in system of norms, but is composed of several strata (layers) norm. Each norm is composed of several layers underneath norm (Wellek. 1968: 151) Das Literarische Kunstwerk (1931) analysis of these norms are divided as follows; (1) norm layered sound (sound stratrum), (2) the meaning
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of the norm layers (units of meaning) and the layers are to (3) is divided as follows: (a) layers of the world, which is considered part of a particular point that needs to be stated but contained inside or implied. (b) that is sublime metaphysical layer (tragic, horrible, scary or even sacred).
The analysis of thematic elements which involve the markedness and simplicity is rare because the other researcher focus on the printed media or textbook of students however the use pantun in society actually can create the harmonious and togetherness, the point of making pantun is not the grammatical forms of the clause but the main word in the clause should be replaced at the beginning of the clause. The types of thematic developments are discussed to see the pattern of making pantun, the analysis of this is rarely happen because some other reseachers may focus on the novel, newspaper, articles which easy to be found in everywhere, but the arguing of pantun is only take place in Malay tradition means this is very limited action be happened therefore the findings could be very different, these are the other reasons why researcher study about this topic.
According to the passage of time the pantun is also experiencing renewal in many ways, the example just about the formulation of this pantun, the number of lines in a verse, rhythm and mandate inclusion delivered. This makes us who want to learn to do the pantun as a whole do not need awkward. This research aimed to enrich the linguistic study of systemic functional linguistic because the use of pantun in wedding ceremony is rarely being discussed by people through the thematic structures and their developments.
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Based on some researches this study is not only concern to the existence of markedness and simplicity but also thematic developments types analysis in Malay pantun of wedding ceremony, then approach it by cursorily considering the relationship between a thematic developments with pantun of Malay in wedding ceremony in Medan Labuhan, particularly focused on pantun in Malay wedding ceremony especially in menyambut pengantin (hailing the groom) which consists of three stages (hempang batang, hempang pintu and hempang kipas). This is necessary to be studied because the developing of pantun can be seen clearly and reformed the newest pattern of thematic developments.
1.2The Problems of the Study
The problems of study deal with thematic structures and developments as realized in Malay pantun in Medan Labuhan wedding ceremony. Based on the background of problems are formulated operationally as the following.
1) What are elements of thematic structures used in pantun of the Deli Malay wedding ceremony?
2) What types of thematic developments are used in pantun of the Deli Malay wedding ceremony?
3) How are the thematic structures and developments realized in pantun of the Deli Malay wedding ceremony?
1.3 The Objectives of the Study
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1) to investigate the elements of thematic structures used in pantun of the Deli Malay wedding ceremony,
2) to investigate the types of thematic developments used in pantun of the Deli Malay wedding ceremony, and
3) to describe the way of thematic structures and developments used in
pantun of the Deli Malay wedding ceremony.
1.4 The Scope of the Study
This research covered investigations and discussions on pantun which were uttered by the mediators in the Deli Malay wedding ceremony especially in hailing the groom, the pantun which were analyzed through thematic structures and developments: textual which is connected to types, markedness and simplicity.
1.5The Significances of the Study
Findings of this study are expected to be useful and relevant theoretically and practically. Theoretically, these findings of the study are expected to add more horizons to theories of mainly systemic functional linguistics which deals with thematic structures and developments in pantun, the theory of Saragih (2008) and Paldrige (2000) as references. The findings of the study are also expected to be useful for those who are interested in conducting further studies on the heritage of Deli Malay language art and culture.
Practically, the findings are expected to be the guidance for learners to study and appreciate pantun in terms of textual function which is concerned with
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mode namely thematic structures and developments in pantun of the Deli Malay wedding ceremony and hoped to be useful for Deli Malay community.
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CHAPTER V
CONCLUSION AND SUGGESTION
5.1 CONCLUSION
After analyzing, the data conclusions are drawn as the following.
(1) There are four elements of markedness and simplicity in pantun:
unmarked simple theme, marked simple theme, unmarked multiple themes and marked multiple themes.
(2) There are seven types of thematic development but the exist in which used in Malay pantun of wedding ceremony are six, They are constant theme, constant rheme, Linear theme, Linear rheme pattern, split rheme, and zig-zag.
(3) The realization of thematic structures in pantun are Marked Simple Theme take the highest or biggest number of all four types, it reaches 48.30%, unmarked simple theme is 35%, unmarked multiple theme is 1.69% and the last is marked multiple theme is 15.25%. while its developments consist of six types namely: constant theme occur 15 %, constant rheme 15 %, linear theme 5 %, linear rheme 8.33 %, split rheme 3.33 %, and zig-zag 53.33 %. Zig-zag is the most dominant over all types of thematic developments.
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5.2SUGGESTION
In relation to the conclusion above, suggestions are stated as the following. (1) The other reseachers are expected to study more about the pantun which take place in different setting, the analysis of pantun textually was done in several numbers but the elaboration and analysis through the thematic development is rare. Therefore the study of thematic progression or development can help Malay people in having various patterns/ types of
pantun.
(2) The whole types of thematic developments can be used in pantun if
pepantun enrich the coherence of words in each stanza. The parents of
Malay should establish the good tradition and culture to their children in order to keep and maintain it such as arguing with pantun.
(3) The Malay people can contribute more reasons of why (pepantun) the person who utter pantun decrease in number and any other aspects of maintaining this culture, nowdays the tradition of pantun is almost lost because the habit of bebalas pantun is seldom be used by the second and third generation.
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REFERENCES
Alwi, Hasan. 2007. Kamus Besar Bahasa Indonesia. Jakarta: Balai Pustaka. Ary, D., Jacobs, L., & Razavieh, A. 1996. Introduction to Research in Education
(5th ed.) Fort Worth: Holt, Rinchart, and Winston.
Bloor, T., & and Bloor, M. 1995. The Functional Analysis of English. London: Edward Arnold.
Bell, M. 2001. Functional Grammar. New York: Longman.
Braginsky, Vladimir. 2004. The Heritage of Traditional Malay Literature. United Kingdom: University of London.
Budiman, Sumiati. 1987. Sari Sastra Indonesia untuk SMP. Surakarta: Intan Pariwara.
Danes, Frantisek. 1974. Functional Sentence Perspective and the Organization of
the Text. In Danes, Frantisek (ed.) Papers on Functional Sentence
Perspective, Prague: Academia, 106-128.
Esterberg, K. 2002. Qualitative Methods in Social Research, Boston: McGrawhill. Eggins, S. 1994. An Introduction to Systemic Functional Linguistics, London:
Printer Publisher.
Eggins, S. 2004. An Introduction to Systemic Functional Linguistics, (2nd ed.) London: Printer Publisher.
Fries, Peter H. 1995. Themes, Development and Texts. In Hasan, Ruqaiya and Peter Fries (ed.) On Subject and Theme. Amsterdam: John Benjamin, 317-359.
Ghadessy, Mohsen. 2008. Thematic Development of English Texts. Hong Kong: Baptist University.
Halliday, M.A.K. 1976. System and Function in Language, London: Oxford University.
Halliday, M.A.K. 1978. Language as Social Semiotic: The Social Interpretation
of Language and Meaning. London: Edward Arnold.
Halliday, M.A.K. 1985b. An Introduction to Functional Grammar 1st edition, London: Edward Arnold.
Halliday, M.A.K. 1994. Introduction to Functional Grammar. London: Edward Arnold.
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Halliday, M.A.K. 2004. An Introduction to Functional Grammar. (2nd ed.) New York: University Press.
Halliday, M.A.K. & Hasan, R. 1999. Language, Context and Text: aspect of
Language in a Social Semiotic Perspective. Geelong: Deakin university.
Kencono, Desi Retno. 1992. Apresiasi Bahasa Indonesia. Surabaya: Kendang Sari.
Lincoln, Y.S., & Guba E.G. 1985. Naturalistic Inquiry. Newbury Park: Sage Marshall, Catherine & Gretchen B. Rossman. 1995. Designing Qualitative
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Grammar, London: Arnold & Oxford Press.
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Peebles, Patrick. 2006. The History of Sri Lanka. United State of America: Greenwood Press.
Santoso, Joko. 2013. Pantun, Puisi Lama Melayu dan Peribahasa Indonesia.
Yogyakarta: Araska.
Saragih, A. 2007. Introducing Systemic Functional Grammar. English Department, Faculty of Languages and Arts: State University of Medan. Saragih, A. 2007. Fungsi Tekstual dalam Wacana. Panduan Menulis Tema dan
Rema. Medan: Balai Bahasa.
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mode namely thematic structures and developments in pantun of the Deli Malay wedding ceremony and hoped to be useful for Deli Malay community.
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CHAPTER V
CONCLUSION AND SUGGESTION
5.1 CONCLUSION
After analyzing, the data conclusions are drawn as the following.
(1) There are four elements of markedness and simplicity in pantun: unmarked simple theme, marked simple theme, unmarked multiple themes and marked multiple themes.
(2) There are seven types of thematic development but the exist in which used in Malay pantun of wedding ceremony are six, They are constant theme, constant rheme, Linear theme, Linear rheme pattern, split rheme, and zig-zag.
(3) The realization of thematic structures in pantun are Marked Simple Theme take the highest or biggest number of all four types, it reaches 48.30%, unmarked simple theme is 35%, unmarked multiple theme is 1.69% and the last is marked multiple theme is 15.25%. while its developments consist of six types namely: constant theme occur 15 %, constant rheme 15 %, linear theme 5 %, linear rheme 8.33 %, split rheme 3.33 %, and zig-zag 53.33 %. Zig-zag is the most dominant over all types of thematic developments.
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5.2SUGGESTION
In relation to the conclusion above, suggestions are stated as the following.
(1) The other reseachers are expected to study more about the pantun which take place in different setting, the analysis of pantun textually was done in several numbers but the elaboration and analysis through the thematic development is rare. Therefore the study of thematic progression or development can help Malay people in having various patterns/ types of pantun.
(2) The whole types of thematic developments can be used in pantun if pepantun enrich the coherence of words in each stanza. The parents of Malay should establish the good tradition and culture to their children in order to keep and maintain it such as arguing with pantun.
(3) The Malay people can contribute more reasons of why (pepantun) the person who utter pantun decrease in number and any other aspects of maintaining this culture, nowdays the tradition of pantun is almost lost because the habit of bebalas pantun is seldom be used by the second and third generation.
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REFERENCES
Alwi, Hasan. 2007. Kamus Besar Bahasa Indonesia. Jakarta: Balai Pustaka.
Ary, D., Jacobs, L., & Razavieh, A. 1996. Introduction to Research in Education (5th ed.) Fort Worth: Holt, Rinchart, and Winston.
Bloor, T., & and Bloor, M. 1995. The Functional Analysis of English. London: Edward Arnold.
Bell, M. 2001. Functional Grammar. New York: Longman.
Braginsky, Vladimir. 2004. The Heritage of Traditional Malay Literature. United Kingdom: University of London.
Budiman, Sumiati. 1987. Sari Sastra Indonesia untuk SMP. Surakarta: Intan Pariwara.
Danes, Frantisek. 1974. Functional Sentence Perspective and the Organization of the Text. In Danes, Frantisek (ed.) Papers on Functional Sentence Perspective, Prague: Academia, 106-128.
Esterberg, K. 2002. Qualitative Methods in Social Research, Boston: McGrawhill. Eggins, S. 1994. An Introduction to Systemic Functional Linguistics, London:
Printer Publisher.
Eggins, S. 2004. An Introduction to Systemic Functional Linguistics, (2nd ed.) London: Printer Publisher.
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