000			03316nam a22002417i 4500
005			20200712110401.0
008			181125s2016 my o|||e m||| 00| 0 may d
020			_qhardback
040			_aPPAK _beng _cPPAK _erda
082	0	4	_a791.5309595 _223
090	0	0	_a791.5309595 _bJAL _dKK
100	0		_aJalilah binti Jamil, _eauthor. _d1969-
245	1	0	_aANALISIS TEKS DAN KONTEKS DALAM PEMENTASAN TEATER WAYANG GEDEK / _cJALILAH BINTI JAMIL
264		1	_aPulau Pinang : _bUniversiti Sains Malaysia, _c2016
300			_axviii, 324 pages : _bcolour photographs ; _c30 cm
336			_2rdacontent _atext
337			_2rdamedia _aunmediated
338			_2rdacarrier _avolume
504			_aBibliography : pages 228-231.
520	3		_aThis study analyses the creative aspects of Wayang Gedek, which is a kind of shadow puppet, performed in the north of Peninsular Malaysia by the Wayang Kulit Seri Asun Group. Mr. Abdul Majid Mohd Noh is the key informant and the only puppeteer who is still active in Wayang Gedek theater performances. Analysis of the Wayang Gedek is divided into two aspects, namely the text analysis backed by Firth theory (1957) and context analysis which is based on descriptions of context by Halliday and Hasan (1991). Data for the research were recorded from four Wayang Gedek theater performances and were then transcribed for data analysis. The researcher used descriptive analysis to examine the relationship and describe the connection between text, context, and culture that come about in the Malay community. In the aspect of text, the researcher witnessed the Siam folklores and local influences, particularly in the selection of proper nouns of human life. The usage of Kedah Malay dialect is also viewed as dominating the aspects of language, particularly in the use of pronouns and verbs. As this native takes place spontaneously, verbs without inflections are significantly used besides disorderly and less accurate structures sentences. The aspects of context on the other hand, focusses on metafunctions, situation, and culture. In language metafunctions, the ideational, interpersonal and textual elements are explained at length. Situational context basically discusses the field, mode and tenor. The cultural contexts further show the relationship between Malay culture with external influences, such as Siamese-Buddhist and Islamic influences. Since staging of Wayang Gedek is now more of a commercial nature, i.e. as a source of income for the puppeteer and his group members, the contents are seen as trying to meet the needs and tastes of the local people not to mention dealing with the modern media rivals that are so influential. Mixture of language was used by the puppeteer in presenting the story. Although Kedah dialect dominated the entire narrative, there were also some elements of the Siam language, especially at the beginning of the opening stage. Siam language is maintained to show the identify of Wayang Gedek which indeed has the influence of Siam from its mentor, Nang Talung. Besides that, English was also used in the form of comedy that entertained tha audience. Elements of other languages, such as Hindi, Mandarin, and Tamil were also infused by the puppeteer in the singing of its comedy character.
650			_aShadow shows _zMalaysia
942			_2ddc _cT
999			_c170313 _d170313