Biography Serat Centhini Pdf


Thursday, December 19, 2019

SEH AMONGRAGA (TOKOH MISTIK JAWA DALAM SERAT CENTHINI) The PDF file you selected should load here if your Web browser has a PDF reader. 1 Transforming Eroticism: The Translation of Serat Centhini Into Indonesian, French and English Prima Agustina Mariamurti French Departement, Faculty of Arts. Serat Centhini is regarded as the most important book on jamu, as it contains at pdf> (last.

Serat Centhini Pdf

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Serat Centhini - Download as PDF File .pdf), Text File .txt) or read online. jurnal centhini. Download as PDF, TXT or read online from Scribd . rat centhini,, Latin d*lut i{u* rriiptrr. dirmugi irg It[galeresaken kalepatan Serat Centhini jilid II t27 This fantastic Centhini Kekasih Yang Tersembunyi Pdf is released to offer the viewers an ideal serat centhini, elizabeth dan agus fatchur rahman - bptpm.

Therefore, I think the scene is more straightforward since the translator made use of verbs to express phases in the same sex love scene, and not using metaphoric words. SC in English S. Santoso of Chant , verse 54 — 57 [The pre-adulthood journey] On the third day, Ki Adipati summoned Mas Cabolang and told him that he wanted to hold another bigger and more spectacular rebana recital on the night of the next full moon. But that was only a pretext; his real purpose in sending for Mas Cabolang was to fulfill his sexual desires with the handsome santri.

So far you have always played the female role. I wonder whether it feels different, I mean, in terms of the sexual enjoyment.

The love scene between men is not transferred in this English version. Perhaps it is due to the liberty of translator in deciding which parts are essentials to be translated. No remembering husbands cold, young boys with no feeling, therefore The transliterated text is then translated into Indonesian by Marsono et. Hatiku 10 berdebar-debar. Segera saya dirobohkan kemudian ditelentangkan, Ki Adipati menindih di atasnya.

Nafasku mendesis, kaki saya dikangkangkan, ditindih ditekan. Saya semakin merintih. Pahaku sudah direnggangkan. Kiai Adipati segera bertindak. Rasanya kencang melayang-layang, gemetar seluruh badan. Saya menjerit dipaksa saja, mentok sampai batas. Saya merintih bersamaan dengan suara derasnya hujan. Dibebani ditindih, badanku gemetar, pandangan tiba-tiba gelap.

Mata berkunang- kunang, nafas tersentak.

Syekh Siti Jenar Javanese Mystic | Sylwia Gil -

Tubuhku bergeser ke atas, bantal terpental. Membujurku berubah. Tubuhku menggelinjang bergerak ke kanan ke kiri, malang melintang diikutinya. Hujan tidak reda- reda, tingkah Ki Adipati menakutkan, payudara dan pipi digigit, sampai semua berbekas, terasa nyeri tapi nikmat. Hanya sebentar bingung, lalu berpikir berganti gaya.

09. Serat Centhini Jilid 09 (PDF) -

Selama itu mata susah dibuka, hanya membuka sedikit. Penatnya bukan main. Saya tidak ingat suami-suami terdahulu.

Mereka masih kanak-kanak, tidak memuaskan; sedangkan ini besar. Setelah selesai, saya melihat, dan diminta memegang, ih, ampun besarnya bukan main, segenggam penuh, satu genggam ibu jari kaki masih longgar.

Rasanya sangat puas, tidak ingin berakhir. Hujan deras sampai reda. My heart fluttered. Oh, oh. My breath, hissing, my legs spread out, pinned, pressed. I whined more.

My thigh widened. The regent moved, sharply pushed it, wodge. That was no match, pushed again, in its place, wobbly, fitted up then pulled out quickly. It felt like flying in speed, floating, shaken all over. I cried for it to be fitted in, pushed it all to the edge. I moan as it rained heavily. Pressed down, pinned again, my body quivered, I black-out. I saw stars, my breath away. My body moved up, the pillow thrown away.

My body laid aside, whimpered, jolted here and there but he followed through. Outside, it was still raining hard. The regent terrified me, biting my breast and cheek, smudging my skin, it was painful yet pleasing. Wham, swiftly pushed in through, different way, so incredibly good. But so quick, I thought it was about to change style.

My eyes were barely opened, hazed. I remembered no more of my ex- husbands. They were too young, unpleasant; this one was huge. The rain has stopped. I consider that this Indonesian translation of the source text is approximately similar to its original text in terms of its content. Eroticism is found in form of adjectives, verbs, and figurative language. He also translate verbs showing woman in the act of love thrown down, stretched out, pinned, spread out, pressed, whined, widened, moved up, laid, whimpered, jolted, terrified, cried, moan.

SC in French Inandiak of Chant , verse — Chant 70 Plus de temps passe plus ma chose lui sied et plus son machin me ravit. Just like a pair of old sandals, when we change it with new ones, they will hurt our feet.

Eighteen labors and five miscarriages, it should be wrecked to the bones! Translation made by Inandiak did not relate to the source text.

Hence, in this part, the translator still manages to introduce the same erotic situation as in the original source text. Suddenly, he pounced my like a tiger. He kissed my lips and his hands caressed by breast. I fought back and pushed his hands away.

Serat Centhini

But like lightning, his hands were already on my thighs. He parted them and slipped his body in between. It was as though an all-seeing dragon was between his loins as he penetrated me. Even though I was a little small for him, the wild dragon had no consideration and pushed through forcefully. I felt myself shudder from the thrust and I cried out with the cry of a virgin wounded by a dragon. But the regent had no mercy at all.

He continued to penetrate with a perpetual thrusting movement, creating both pleasure and pain. The rain continued to fall heavily and after a long battle, he relented. The regent was very concerned and began to caress them, which could make me fly to the seventh heaven. I touched and pinched it until it came to life again.

Now, no battle ensued but the art of sexual play, which shook heaven and earth and was accompanied by the soft sound of drizzle. Thus we moved together until we were out of energy, like clouds were out of rain. Conclusion We see that eroticism is transferred in the Indonesian, French and English target text though the plot and the style are not completely follow the source text. This is a way for the translators to be free from the form of source text and plunge into their own version as long as they stick to the purpose of the work to be translated.

This is why Inandiak could come with her own version which convey erotic scene in clear and natural expression, and so did Santoso who dropped some homosexual scene but find a metaphor which strongly interprets the image of dragon.

The translators of target texts tried to adapt their works to the situation in the target culture and language.

The French and English versions are to be published mostly outside Indonesia so the translator has to deal and know the characteristic of people who will accept the story and its content. The transformation of erotic scene is influenced by the culture of readers in English and France. I think that French translator is more open and frank in transferring such scene for French readers as in France sex is considered as natural as human appetites for food.

So, in such matter, we also see the choice and the power of the translators in deciding which parts to be transmitted, transformed, and even deleted. The form of the source text is transformed into lyric prose Indonesian and French version or narrative-descriptive text English version so that the translated text is easier to read and understand by the target text readers.

Adding photographs in the target text could be considered as strategy to make the translated work more recognized. Onomatopoeic words are commonly used whenever people want to increase his purpose in communication or just to revive a sentence. Briefly, each translator preserves the eroticism in Serat Centhini in their own way, so as to make future readers understand that it is part of Javanese culture at that time. Yogya: U. Azis, Abdul. The translator as communicator.

London, New York: Routledge. Inandiak, Elizabeth D. Le Livre de Centhini. Yogyakarta: Yayasan Centhini. Knowles, Muray and Moon, Rosamund. Introducing metaphor. New York: Routledge. Mangkusudarmo, Suharto. Centhini Tambangraras — Amongraga Jilid V. Yogyakarta: Gadjah Mada University Press.

However, Lombart stated that the work does not get the same response from Indonesian people. Untill now, there is no Indonesian expert who discuss Serat Centhini in relation with the view of Javanese life.

On the other side, Serat Centhini surely contents many aspects related with the life of Javanese.

Serat Centhini is oftenly called as the mother of Javanese knowledge. This work contents the belief, faith, Javanese kanuragan and mysticism, Javanese architectures, art, farming, heritage, austronomy, primbon, food, culture, story or old tales, plants, animal, medicines, Javanese ethic, geography, until the Javanese sexology. There are researchs or study on Serat Centhini.

However, all of the analysis is only in partial. For example, the writing related to the content of Serat Centhini only discusses the traditional Javanese food, medicines, sexology, and also review in order to complete the information of one other particular book. Such as, the review on Astrabrata in the Javanese manuscript related with or compare to Sastracetha in Serat Centhini. The transliteration from Javanese to Latin letters is a good effort on preserving the content of the monumental Javanese literary work in the Kasunanan Surakarta era.

Besides preservation, transliteration is also one effort to juxtapose Serat Centhini to broader society.

Most of the people nowadays are not able to read in Javanese. In contrary, people nowadays are used to read the book in Latin. The transliteration helps readers who could not read in Javanese read the book comprehensively. This version is also completed by the summary in every pupuh in Javanese.

This publication is also stated as the most monumental version from other publication. Serat Centhini was formerly known as Serat Suluk Tambangraras which is also a very popular Javanese literary work Soekirman, 2.

Some of the observer of Serat Centhini stated that Javanese manuscript with 4. The name of Serat Centhini is taken form the woman character Ni Centhini which plays the role as the servant of Tambangraras Niken Tambangraras which finally married Amongraga. Then, the title is changed from Serat Tambangraras which is taken from the name of the master Niken Tambangraras; doughter of Kyai Bayi Panurta to Serat Centhini; the name of the maid of Niken Tambangraras. The reason is not explained by any observer or researcher of Javanese culture and literature.

Jayengresmi is also the central character in the journey and named by Amongraga in Serat Centhini or Serat Tambangraras. Meanwhile, some of the experts said that Mangkunegara III is a person who order or initiate the writing of Javanese knowledge which later known as Serat Tambangraras or Serat Centhini.

Gadjahmada, 4. The name Serat Centhini, later, is more popular than Serat Tambangraras. The work of Pakubuwana V is recognized since it is loaded with the Javanese knowledge so that it is called as the Javanese culture encyclopedy Adisasmita, Kamajaya, Mintorsih, ; Sukirman, Sumidi, ; Sukirman, While, Marsono stated that Serat Centhini is a masterpiece written by Javanese poet and Nurnamingsih 12 and Wirodono 7 grade Centhini as the masterpiece of Javanese author.

Serat Centhini has become the source to many transformation of the modern Indonesian novel. It also happens to foreign writers.

Kamajaya has stated or predicted that Serat Centhini would become the source of the development of Javanese literature. The transformation of Serat Centhini into tembang macapat is also done by Agus Wahyudi which recreate novel Serat Centhini into twelve publications.

Each of the book is titled Serat Centhini 1 to Serat Centhini12 in However, each novel has sub title which illustrates the substance of the book. From the above explanation, it could be concluded that Serat Centhini is an adaptation or transformation from Serat Jatiswara and Kidung Centhini. Tambangraras is an important character in the story and married Seh Amongraga or Jayengresmi.

Until now, no one reveal the reason of the transformation of Serat SulukTambangraras into Serat Centhini. However, in the beginning of XX century, the work is already called by Serat Centhini. Centhini in Serat Centhini is called Ni Centhini ni in Javanese tradition illustrates lower social status person, differs with niken as a person from high social status. Ni Centhini is batur or abdi of Niken Tambangraras. Niken Tambangraras is a beautiful, smart, capable lady.

She does not willing to marry any man unless he is beyond her. Niken Tambangraras has two sisters. There are Jayengwesthi married to Turida and Jayengraga married to Rarasati. The beauty of Niken Tambangraras was more shining when she got married to Amongraga. It was because she wore sinjang alus with gendhis petak design, batikan semen parangtritis, singset belt, sesupe jamrut mirah, and sengkang panunggul inten. Niken Tambangararas did sungkem as a way of expressing respect and loyalty to Amongraga in panggih bride ceremony.

Since the first night, Amongraga taught religious knowledge to Niken Tambangraras. Niken Tambangraras was asked to read and learn about Quran. He also explained kiraat and wustha time.

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Niken Tambangraras was very happy to learn all of the knowledge. Ki Bayi Panurta was never taught her such knowledge before. After giving wejangan and knowledge for 40 days, Amongraga said farewell to Niken Tambangraras. He wanted to find two of her brothers. In fact, Amongraga also asked and allowed Tambangraras to get married again with someone else.

The message from Seh Amongraga made Niken Tambangraras shocked and sad. She almost passed out. Finally, Amongraga comforted her until she had fallen asleep. Niken Tambangraras was very sad so that her body turned to be skinny.

Both of her parents is pity for Niken Tambangraras. Niken Tambangraras became sadder after Ki Bayi Panurta dreamnt about loosing a tooth. It was a bad sign for Amongraga.

Niken Tambangraras always held Quran, tadarus reading quran , praying, and giving to the poor daily for Seh Amongraga. Niken Tambangrara forgot to take a bath, ate, took-care others, and never dressed up.

Centhini is the servant or the maid of Niken Tambangraras. Ni Centhini is very obedient to Niken Tambangraras. When her master was getting married, Ni Centhini was also dressed up and put some make up on. It made her also look very beautiful. It seems that Centhini was also the bride. Amongraga was also attracted to her beauty.

It made him teach Centhini tafsir. Chentini was glad to learn the lesson from Amongraga. Ni Centhini always accompanied Niken Tambangraras when Amongraga taught her wife either directly in the mosque or by peeking them in their private room see Centhini 1: 40 Malam Mengintip Sang Pengantin written transformation by Sunardian Wirodono, Ni Centhini accompanied Niken Tambangraras when learning about faith, monotheism, suhud prayer, suhul prayer.

Ki Bayi Panurta and Nyai Malarsih were very happy to hear that. Ni Centhini was very surprised when Niken Tambangraras shouted when he found out that her husband had left. Ni Centhini who was very loyal to Niken Tambangraras accompanied her looking for her husband.

As the lady in her age the age of Kasunanan Surakarta in the Pakubuwana V period , Niken Tambangraras has already have advance and moderate way of thinking.

In choosing the life partner or a husband, Niken Tambangraras did not follow the tradition of being matchmaking by parents without any certain rasional consideration. In Serat Centhini, Niken Tambangraras did not want to follow the attitude of waton manut. She did not want to accept any man randomly.

She was willing to be cursed by all the man who had proposed and being rejected. Since she rejected many times, Niken Tambangraras was cursed that she was not a woman.

The curses and the critics did not lame her. Niken Tambangraras had decided to herself that she would marry with the man of her choice. It also showed when she was left by Amongraga after forty days marriage. Niken Tambangraras used to always refuse the man who proposed her.

In the journey of leaving, Niken Tambangraras and Ni Centhini faced many obstacles and challenges. Her attitude was never offended her parent. She respected her parents and it was the main attitude of Niken Tambangraras stated in Serat CenthiniVI, pupuh lyrics 83— Lajeng kewala masuk, mring dalem yun apanggih lan mantu, Seh Mongraga lan garwa methuk ing ngarsi, nulya samya tata lungguh, mingser mire kang pra wadon. You will find doughter in law. Seh Amongraga and his wife would greet. After everyone had seated, every women are moved to the seat in the other side.

Immediately, Seh Amongraga greets Kyai Panurta. Niken Tambangraras would give all her respect and obedient to her father and mother hal. Niken Tembangraras is a modest woman. She was raised in the religious environment, so Niken Tambangraras is grown up to be a religious woman who always keeps herself from bad and immoral attitudes. Niken Tambangraras also continues her learning. For Tambangraras, knowledge could lead her life to peace.

As a wife, Niken Tambangraras felt lucky to have Seh Amongraga who taught her many life and religious lessons. Niken Tambangraras had the innitiative to learn from the teacher, Seh Amongraga. She, herself, oftenly asked question and requested to be taught certain knowledge to him.

Am I allowing to asking You. Seh Amongraga answer with a low tone voice, I allow you. I wish You could give me enlightment who hunger of knowledge page. There are awas and eling so that the knowledge is in the heart and applied in the daily life. First, Niken Tambangraras regreted it when she asked her husband permission to see the crowd. Second, Niken Tambangraras devoted herself totally to her husband.

Her resignation to Seh Amongraga had position herself as a trash in the ocean. Third, she never ate before her husband. She had the awareness of her position as a dutiful wife. Fouth, the attitude or character to obey or bekti 'devotion' to her husband expressed directly by Niken Tambangraras as a sign that she did it on her awareness and her own willingness without insistence or the domination of others.

Niken Tambangraras is a woman who likes to learn. Niken Tambangraras was studying Islamic sciences in earnest to Seh Amongraga. Niken Tambangraras sailed to the science of faith, monotheism, the obligatory prayers, and ethics in line with Islamic values.

In this context, Niken Tambangraras put Seh Amongraga as husband and male teacher. Male teacher is a husband who has a role as a teacher or as a lantern that brightened up their marriage for his wife.

Therefore, Niken Tambangraras followed and adhered the advices or lesson from her husband faithfully, sincerely, and diligently and applying it in their merriage life. The attitude of Niken Tambangraras is also the character of her assistant, Ni Centhini.

Centhini also developed into a person who enjoys learning. She always took a apart whenever Seh Amongraga gave lessons either to Niken Tambangraras or to the students in Pesantren Wanamarta.

Every knowledge taught by Seh Amongraga was well received and understood. She also applied it in daily life. Of her willingness to learn from Seh Amongraga, both women are matured into diligent, pious, and responsible Muslim. Niken Tambangraras is a person who respects others. It is pictured in Niken Tambangraras attitudes towards Ni Centhini. It also showed a positive attitude between the master and her servant. Niken Tambangraras loves Ni Centhini. They are only in a different position as the master and the servant.

Ni Centhini is willing to serve and takes full responsibility for her job as a servant and a companion for her master, Niken Tambangraras. Like her master, Centhini also have the character as the woman who likes to seek knowledge, and modest.

Since she was a loyal maid, Ni Centhini faithfully and diligently accompanied Niken Tambangraras learning from Seh Amongraga for forty days, especially at night. Like Tambangraras, Ni Centhini also characterized as the woman who modest.

Centhini was very earnestly listening to the lessons from Amongraga. Centhini felt grateful getting knowledge from Seh Amongraga during her lessons to his wife, Niken Tambangraras. In fact, Centhini is always hunger for knowledge.

She is also known as the woman who was broadly knowledgeable according to Tambangraras. This was in line with the opinion of Centhini who felt blessed as she got much knowledge from Seh Amongraga. Serat Centhini is a monumental literary work in Javanese literature tradition.

Serat Centhini is known as the masterpiece, a great work, Javanese culture encyclopedy, and the like. One of the greatness of Serat Centhini is seen from its broad content including the whole life aspect of the Javanese society when the work is created which is in the Pakubuwana V era in Surakarta. As a monumental work, Serat Centhini broadly influenced the creation of modern lndonesian literature.

From Serat Centhini, Indonesian literary novel has born. It is written by Indonesians and also foreigners.Niken Tambangraras was cursed that she was not a woman. Seng Trenggana Page 42 and Jroning panti catur gedhongneki, kang ler wetam sela bang kinarya, sarwa ahang rerenggam. Ki Bayi and his wife returned to Wonomarto, this time, with a happy and content feeling.