Proceedings of the 2nd International Conference of Linguistics and Culture (ICLC-2 2021)

Toraja Oral Literature Gelong Sangpulo Dua: Structural Analysis

Authors
Eva Kadang1, *, Akin Duli2
1,2University Hasanuddin
*Corresponding author. Email: kadangs2481@gmail.com
Corresponding Author
Eva Kadang
Available Online 24 December 2021.
DOI
10.2991/assehr.k.211225.005How to use a DOI?
Keywords
Oral literature; Gelong Sangpulo Dua; Gelong Tallang; Gelong Tabang; Gelong Tondok; Gelong Tedong
Abstract

The purpose of this research was to describe the intrinsic elements contained in Gelong Sangpulo Dua. This study applies a qualitative descriptive method. The data in this study are the intrinsic elements of Gelong Tallang, Gelong Tabang, Gelong Tondok, and Gelong Tedong, while the data source is the entire content of Gelong Tallang, Gelong Tabang, Gelong Tondok, and Gelong Tedong contained in the Gelong Sangpulo two literary text compiled by Sande [3]. The research data were collected using documentation techniques, interview techniques, and text analysis techniques. The research data were analyzed using qualitative data analysis techniques using an objective approach. The results showed that there were relatively large/high similarities between Gelong Tallang, Gelong Tabang, Gelong Tondok, and Gelong Tedong. Based on the results of data analysis in this study, it can be concluded that (1) the themes of the four gelongs are praise to the gods performed by humans as an expression of their gratitude for the gifts they have given; (2) the four beams contain almost the same message, namely that humans must be grateful for the gifts given to gods; (3) those used as symbols in the four gelongs tend to object that is attached and considered sacred in the life of the Toraja people; (4) the rhymes contained in the four loops consist of initial rhyme, middle rhyme, and final rhyme with variations of vowel and consonant repetitions; (5) the four gelongs are sung with relatively the same rhythm, tone, and tempo, which are generally loud and high at the beginning and end of the line, while in the middle of the line the rhythm is moderate; (6) the style of the language contained in the four groups consists of four types of language style, namely alliteration, assonance, simile and personification.

Copyright
© 2021 The Authors. Published by Atlantis Press SARL.
Open Access
This is an open access article under the CC BY-NC license.

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Volume Title
Proceedings of the 2nd International Conference of Linguistics and Culture (ICLC-2 2021)
Series
Advances in Social Science, Education and Humanities Research
Publication Date
24 December 2021
ISBN
10.2991/assehr.k.211225.005
ISSN
2352-5398
DOI
10.2991/assehr.k.211225.005How to use a DOI?
Copyright
© 2021 The Authors. Published by Atlantis Press SARL.
Open Access
This is an open access article under the CC BY-NC license.

Cite this article

TY  - CONF
AU  - Eva Kadang
AU  - Akin Duli
PY  - 2021
DA  - 2021/12/24
TI  - Toraja Oral Literature Gelong Sangpulo Dua: Structural Analysis
BT  - Proceedings of the 2nd International Conference of Linguistics and Culture (ICLC-2 2021)
PB  - Atlantis Press
SP  - 26
EP  - 33
SN  - 2352-5398
UR  - https://doi.org/10.2991/assehr.k.211225.005
DO  - 10.2991/assehr.k.211225.005
ID  - Kadang2021
ER  -