Article Per Year (5 Year)
p-Index From 2020 - 2025
0.23
P-Index
This Author published in this journals
All Journal Urban : Jurnal Seni Urban dan Industri Budaya Paradigma: Jurnal Kajian Budaya International Review of Humanities Studies
Nariswari, Fitria Sis
Unknown Affiliation
Arts Humanities Languange, Linguistic, Communication & Media Library & Information Science Social Sciences

Published : 4 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 4 Documents
Search

 1 
Film Fiksi.: Antara Identitas Film Nasional dan Sinema Pasca-Orde Baru Nariswari, Fitria Sis
Urban: Jurnal Seni Urban Vol 1, No.2: Oktober 2017
Publisher : Sekolah Pascasarjana Institut Kesenian Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52969/jsu.v1i2.13

Abstract

he term ‘national film’ has a long history, and in some circles is a subject of debate, going to the terms “Third Cinema” and “First Cinema”. The basic question with what is called ‘national film’ will be discussed in this paper, by analyzing the film Fiksi. (2008). The choice of this movie is based on its director, who is a woman, and was produced after the New Order. This paper discusses how a post-New Order women-directed film tries to create a ‘national film’ identity. Furthermore, the writer tries to analyze the question of women representation in the Fiksi. film or a sharp distinction between the New Order film discourse and Fiksi. This film shows a cautious approach towards the ‘national film’ identity, even though it is filled with various gender and social issues. As a post-New Order cinema, this film is lucky in that it did not have to face censorship on its critique. Istilah film nasional ini pun memiliki sejarah panjang dan menjadi perdebatan di beberapa kalangan dengan mengacu pada istilah “Sinema Ketiga” dan “Sinema Pertama”. Pertanyaan mendasar dengan apa yang disebut dengan film nasional akan dibahas dalam tulisan ini dengan menganalisis film Fiksi. (2008). Pemilihan film ini juga didasari atas film yang bersutradara perempuan dan yang diproduksi pasca-Orde Baru. Tulisan ini membahas bagaimana sebuah film pasca-Orde Baru yang disutradarai perempuan berupaya untuk memiliki identitas sebagai film nasional. Selain itu, pertanyaan tentang bagaimana representasi perempuan pada film Fiksi. atau adakah perbedaan yang mencolok antara wacana film Orde Baru dan film Fiksi., terutama dalam hal representasi perempuan juga akan muncul. Film ini kemudian menunjukkan identitas sebagai film nasional yang masih gamang meskipun di dalamnya sarat isu gender dan isu-isu sosial. Sebagai sinema pasca-Orde Baru, film ini beruntung karena tidak perlu terkena sensor atas kritiknya.
Kumpulan Cerpen Celeng Satu Celeng Semua Karya Triynato Triwikromo: Sebuah Metafora Tuhan Nariswari, Fitria Sis
Urban: Jurnal Seni Urban Vol 2, No.1: April 2018
Publisher : Sekolah Pascasarjana Institut Kesenian Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52969/jsu.v2i1.4

Abstract

This article is an attempt to see how the tendency of Triyanto Triwikromo’s writings in antology of short stories, Celeng Satu Celeng Semua. There are 10 short stories in this collection. His short stories show that God is the director of everything that happens in this world. The story that is built will always lead to a metaphor in the description of God. His short stories were also built by mixing real characters and fantasies which at the end of the story, the protagonist always wins. Nevertheless, Triyanto has had his position in Indonesian literature. Tulisan ini merupakan upaya untuk melihat bagaimana kecenderungan tulisan- tulisan Triyanto Triwikromo dengan sumber kumpulan cerpen Celeng Satu Celeng Semua. Ada 10 cerpen di dalam kumpulan ini. Cerpen-cerpennya menunjukkan bahwa Tuhan adalah penggerak segala sesuatu, sutradara segala hal yang terjadi di dunia ini. Cerita yang dibangun akan selalu mengarah kepada metafora dalam penggambaran Tuhan. Cerpen-cerpennya juga dibangun dengan pencampuradukan tokoh-tokoh nyata dan fantasi yang pada akhir cerita, protagonis selalu menang. Meskipun demikian, Triyanto telah memiliki posisinya dalam sastra Indonesia.
MISTERI LEMBAH HANTU: HORROR NOVEL AND VIOLENCE IN FAMILY RELATION Nariswari, Fitria Sis; Yoesoef, M.
International Review of Humanities Studies Vol. 4, No. 3
Publisher : UI Scholars Hub

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

The talk on horror stories never ceased to be discussed, as ones will find any topics regarding horror stories, even in daily conversation. The horror stories permeated in Indonesia during the period of 1970-1990s were considered as a third-rate literature, even though it had a considerable amount of readers who were fans of these stories. During the period, Abdullah Harahap came into the spotlight and became the most productive horror writer compared to his colleagues. However, Abdullah Harahap, who were prominent among readers during 1970-1990s, turns to be a less-known writer when it comes to academic research. This research examines Misteri Lembah Hantu (1988), a novel written by an Indonesian writer Abdullah Harahap, that the novel is regarded to sufficiently represent the stories in other novels that exhibit the elements of violence, abnormal sexuality, and the troubled nuclear family relation. The novel be will analyzed from its plot to understand the narrative pattern. Plot and character analysis will be used to comprehend how violence and abnormal sexuality described in Misteri Lembah Hantu (1988). Additionally, a horror story can also show how it is used to confront anomaly, anxiety, and fear which is different compared to the everyday life. Fear and anxiety are impossible to be expressed in the real world, but they can be manifested through a literary work. The violence and abnormal sexuality in Misteri Lembah Hantu also can be concluded as the symbol that improper parenting from the nuclear family will impact the chaos happened in the broader community, for instance the society.
MENYOAL RAJAH DAN PASADUAN DALAM STRUKTUR TEKS CARITA PANTUN BADUY Saparudin, Endin; Fitriyah, Atiqotul; Yoesoef, M.; Nariswari, Fitria Sis; Siagian, Alfian
Paradigma: Jurnal Kajian Budaya Vol. 15, No. 1
Publisher : UI Scholars Hub

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This article explores the text structure of Kanekes (Baduy) carita pantun, focusing on the presence of rajah, previously understood as the beginning and end of the text (functioning as 'prayers and supplications' to the ancestors). Through analysis of documentation from J.J. Meijer (1891), Wim van Zanten (1977), as well as recent fieldwork (2022-2023), it was found that the rajah was not always in this position. This research uses an ethnographic approach and was conducted in August-October 2022 and September-October 2023 in Kanekes, Leuwidamar, Banten. Nine informants who work as pemantun and responders were recruited. Data were obtained through interview and recording techniques in three agrarian rituals (rice planting, house inauguration, and marriage). Based on the field data, it is found that the text of Baduy carita pantun in the three rituals has a unique different structure, with the pasaduan element not at the beginning and end, but after bangbalikan/usualan. In addition, panunda (intermediary) repetition also plays an important role. This finding challenges previous views and shows the complexity of the Baduy carita pantuntext structure that is different from other Sunda Tatar regions. The results of this study contribute to the understanding of the patterns of carita pantun in Baduy community based on field data and carita pantun texts that have been collected by previous researchers (Pleyte, Zanten, and Rosidi); knowledge about the aspects of preserving intangible cultural heritage among the Baduy (Kanekes) community which can be illustrated through agricultural ritual activities routinely carried out; and this study illustrates the current condition of carita pantun in Baduy (Kanekes) in the midst of cultural changes in the supporting community.
Co-Authors Fitriyah, Atiqotul Saparudin, Endin Siagian, Alfian Yoesoef, M.