DEFINISI BUDAYA

1. RAYMOND WILLIAMS (1985), Keywords

a. Makna Kata (Cultivation): The fw is cultura, L, from rw colere-, L. Colere had a range of
meanings: inhabit, cultivate, protect, honour with worship. Some of these meanings
eventually separated, though still with occasional overlapping, in the derived nouns. Thus
‘inhabit’ developed through colonus, L to colony. ‘Honour with worship’ developed through
cultus, L to cult. Cultura took on the main meaning of cultivation or tending, including, as in
Cicero, cultura animi, though with subsidiary medieval meanings of honour and worship (cf.
in English culture as ‘worship’ in Caxton (1483)). (p. 87)
b. Makna Kiyasan (Cultivation of Human Minds): This provided a further basis for the
important next stage of meaning, by metaphor. From eC16 the tending of natural growth
was extended to a process of human development, and this, alongside the original
meaning in husbandry, was the main sense until 1C18 and eC19. Thus More: ‘to the culture
and profit of their minds’; Bacon: ‘the culture and manurance of minds’ (1605); Hobbes: ‘a
culture of their minds’ (1651); Johnson: ‘she neglected the culture of her understanding’
(1759) (p.88)
c. Way of life dan Aktivitas Seni: 1) indicates a particular way of life, whether of a people, a
period, a group, or humanity in general, from Herder and Klemm. 2) describes the works and
practices of intellectual and especially artistic activity (culture is music, literature, painting
and sculpture, theatre and film). A Ministry of Culture refers to these specific activities,
sometimes with the addition of philosophy, scholarship, history. 3) the idea of a general
process of intellectual, spiritual and aesthetic development was applied and effectively
transferred to the works and practices which represent and sustain it. (p.90)
d. Produksi Material vs Sistem Simbolik: It is especially interesting that in archaeology and in
cultural anthropology the reference to culture or a culture is primarily to material
production, while in history and cultural studies the reference is primarily to signifying or
symbolic systems. This often confuses but even more often conceals the central question of
the relations between ‘material’ and ‘symbolic’ production, which in some recent argument
- cf. my own Culture have always to be related rather than contrasted. (p. 91)

2. CLIFORD GEERTZ (1973), The Interpretation of Culture:

a. Tanda-Makna: The concept of culture I espouse is essentially a semiotic one. Believing, with
Max Weber, that man is an animal suspended in webs of significance he himself has spun, I
take culture to be those webs, and the analysis of it to be therefore not an experimental
science in search of law but an interpretive one in search of meaning. (p.5)
b. Thick Description: But the point is that between what Ryle calls the "thin description" of
what the rehearser (parodist, winker, twitcher ...) is doing ("rapidly contracting his right
eyelids") and the "thick description" of what he is doing ("practicing a burlesque of a friend
faking a wink to deceive an innocent into thinking a conspiracy is in motion") lies the object
of ethnography
c. Nilai yang terkandung: The thing to ask about a burlesqued wink or a mock sheep raid is not
what their ontological status is. It is the same as that of rocks on the one hand and dreams
on the other-they are things of this world. The thing to ask is what their import is: what it is,
 ridicule or challenge, irony or anger, snobbery or pride, that, in their occurrence and
through their agency, is getting said
d. Bersifat publik: Culture is public because meaning is. You can't wink (or burlesque one)
without knowing what counts as winking or how, physically, to contract your eyelids, and
you can't conduct a sheep raid (or mimic one) without knowing what it is to steal a sheep
and how practically to go about it.
e. Artikulasi Budaya: Behavior must be attended to, and with some exactness, because it is
through the flow of behavior--or, more precisely, social action-that cultural forms find
articulation. They find it as well, of course, in various sorts of artifacts, and various states of
consciousness; but these draw their meaning from the role they play (Wittgenstein would
say their "use") in an ongoing pattern of life, not from any intrinsic relationships they bear
to one another.
f. Pendekatan Antropologi: It is merely to say that the anthropologist characteristically
approaches such broader interpretations and more abstract analyses from the direction of
exceedingly extended acquaintances with extremely small matters.

3. EAGLETON (2000), The Idea of Culture

a. Nature vs Culture: culture, etymologically speaking, is a concept derived from nature. One
of its original meanings is 'husbandry', or the tending of natural growth. The same is true of
our words for law and justice, as well as of terms like 'capital', 'stock', 'pecuniary' and
'sterling'. The word 'coulter', which is a cognate of 'culture', means the blade of a
ploughshare. We derive our word for the finest of human activities from labour and
agriculture, crops and cultivation. Francis Bacon writes of 'the culture and manurance of
minds', in a suggestive hesitancy between dung and mental distinction. 'Culture' here
means an activity, and it was a long time before the word came to denote an entity. Even
then, it was probably not until Matthew Arnold that the word dropped such adjectives as
'moral' and 'intellectual' and came to be just 'culture', an abstraction in itself
b. Dari Pedesaan ke Perkotaan: Etymologically speaking, then, the now-popular phrase
'cultural materialism' is something of a tautology. 'Culture' at first denoted a thoroughly
material process, which was then metaphorically transposed to affairs of the spirit. The
word thus charts within its semantic unfolding humanity's own historic shift from rural to
urban existence, pig-farming to Picasso, tilling the soil to splitting the atom. In Marxist
parlance, it brings together both base and superstructure in a single descriptive and
normative. It means life as we know it, but also suggests that it is superior to barbarism.
c. Perspektif Marxian: For Marx, culture has only one origin, and that is labour upon nature.
That labour for Marxism means exploitation is one meaning of Walter Benjamin's wise
dictum that every document of civilization is also a record of barbarism. Culture for Marx is
generally ignorant of its parentage: like the Oedipalized child, it prefers to believe that it
sprang from an altogether superior sort of lineage, if not fully armed from its own head.
What gives birth to culture, however, is not meaning but need. It is only later, when society
has evolved to the point where it can support a full-time institutional culture, that culture
comes to assume a real autonomy of practical life. For Marxism, this autonomy is an
historical fact rather than a formalist illusion.
4. HALL (1997), Representation, Cultural Representations and Signifying Practices
a. High Culture vs Popular Culture, dalam definisi tradisional, culture mengacu kepada hasil
terbaik pemikiran manusia dalam masyarakat yang ditampilkan dalam bentuk sastra, lukis,
musik dan filsafat. Juga disebut budaya luhur. Sebaliknya, budaya pop atau massa mengacu
kepada berbagai bentuk yang tersebar luas dari seni pop, musik, sastra, desain, dan
hiburan.
b. Budaya sebagai makna bersama: budaya adalah proses produksi dan pertukaran makna,
atau “take and give makna” antara anggota masyarakat atau kelompok. Dua orang
dikatakan memiliki budaya yang sama apabila mereka memaknai dunia dengan cara yang
kurang lebih sama, dan menampilkan pemikiran dan perasaan tentang dunia, dengan cara
yang dapat dipahami oleh keduanya.
c. Budaya berpengaruh: budaya sebagai shared meaning tidak hanya terletak di dalam pikiran,
tapi mengatur kehidupan dna praktik sosial, memengaruhi tindakan kita sehingga memiliki
dampak nyata dalam kehidupan

5. Story (2009), Cultural Theory and Popular Culture

a. Difinisi post strukturalist, praktik memberi makna: Culture here means the texts and
practices whose principal function is to signify, to produce or to be the occasion for the
production of meaning. Culture in this third definition is synonymous with what
structuralists and post-structuralists call ‘signifying practices’ (see Chapter 6). Using this
definition, we would probably think of examples such as poetry, the novel, ballet, opera,
and fine art.
b. Budaya pop (gaya hidup dan praktik memberi makna): To speak of popular culture usually
means to mobilize the second and third meanings of the word ‘culture’. The second
meaning – culture as a particular way of life – would allow us to speak of such practices as
the seaside holiday, the celebration of Christmas, and youth subcultures, as examples of
culture. These are usually referred to as lived cultures or practices. The third meaning –
culture as signifying practices – would allow us to speak of soap opera, pop music, and
comics, as examples of culture. These are usually referred to as texts. Few people would
imagine Williams’s first definition when thinking about popular culture.
6. MUANNIS (1978), Al-Hadharah
a. Tsaqafah vs Hadharah: Ilmu pengetahuan termasuk ke dalam bidang peradaban karena
bersifat universal, para ilmuan di seluruh dunia menggunakan teori dan metode yang sama.
Peradaban hari ini adalah peradaban internasional dan progressif yang bertumpu pada
fondasi ekonomi yang berorientasi angka-angka, dan kurang memperhatikan sisi
humanioranya. Sedangkan seni, musik dan sastra tergantung pada rasa yang bersifat
individual dan lokal. Seni dan Sastra (Adab) merupakan bidang Tsaqafah. Memang ada
seni yang masuk ke dalam peradaban, yaitu seni yang memiliki dimensi ekonomi, seperti
seni arsitektur, seni dekorasi, seni desain web, seni desain produk, seperti mobil, televisi,
handphone, seni iklan dan marketing.
b. Tsaaqafah berdimensi lokal: Tsaqafah (budaya) adalah hasil dari kegiatan atau praktik
kehidupan manusia yang berdimensi lokal yang bersumber dari lingkungan dan
mengungkapkan lingkungannya itu atau mengkomunikasikan tradisinya di bidang-bidang
seni, sastra, dsb.
 c. Tsaqafah berdimensi tradisional dan pedesaan: Arstek dan tata Kota-kota di Arab hampir
sama karena mengacu kepada sistem Barat yang sudah maju. Sedangkan di pedesaan Mesir,
Saudi Arabia, Sudan, dsb, kehidupan petani dan nelayan memiliki karakter yang berbeda
karena mengikuti tradisi masing-masing yang khas. Mereka tidak mengikuti perkembangan
sehigga mengulang apa yang dilakukan nenek moyangnya. Di pedesaan, perubahan hanya
pada hal-2 yang dorury atau primer saja, seperti penggunaan listrik, semen pada bangunan,
dsb. tapi tidak mengubah cara mereka makan, tidur, komunikasi, dsb. Di banyak desa, laki-
laki makan terlebih dahulu, terutama bapak dan anak tertua, baru anggota lain.

7. ARIF (1993), Al-Hadharah—Al-Tsaqafah—Al-Madaniyyah

a. Terjemahan Culture ke Tsaqafah: pertama oleh Salama Musa (al-Hadharah wa al-Tsaqafah,
1927). Salama Musa meminjam dari Ibn Khaldun yang menggunakan istilah Tsaqafah, yang
menurutnya memiliki makna yang sama dengan istilah culture yang terkenal digunakan di
Eropa. Tsaqafah adalah mencakup pengetahuan, ilmu, seni dan sastra yang dipelajari
manusia dan menjadi berkembang karenanya. Budaya terkait dengan aspek kognitif
manusia.
b. Terjemahan Civilization ke Hadharah: peradaban atau hadharah berkaitan dengan materi
yang diinderai, yaitu peralatan, bangunan, sistem hukum yang dipraktikkan, agama yang
mengandung aturan, ritual, dan tradisi, dan kelembagaan.