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All Journal Humaniora Susastra : Jurnal Ilmu Sastra dan Budaya
Kurnia, Lilawati
Pengajar Program Studi Jerman Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia
Humanities Education Social Sciences

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Transculturality through Industrial Space: Cembengan at the Colomadu Sugar Factory Ade Ariyani Sari Fajarwati; Lilawati Kurnia
Humaniora Vol. 12 No. 1 (2021): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v12i1.6918

Abstract

The research aimed to explain Cembengan celebrations held at the Colomadu sugar factory, Karanganyar which was built in 1861. This celebration was held every time the factory would start milled processing sugar cane into sugar. The word “cembeng” itself came from the Chinese word “Cengbeng”, which was a ritual to commemorate deceased ancestors. Cengbeng was held every April 5th by cleaning graves and placing food and prayer tools such as incense and candles. Meanwhile, the Cembengan tradition itself as a ritual also commemorated the ancestors, but its function had turned into a ritual to start the production process at a sugar factory. This ritual was considered important so that it was carried out continuously for hundreds of years in a Javanese industrial space. This ritual was also attended by Dutch officials when it was still under the control of the Dutch East Indies. The research investigated the intersection between space, capital, and culture, which formed an ‘invented tradition’. The method used was through historicity approach and analyzed the relationship between space and the formation of Cembengan tradition in the Colomadu sugar factory. The results show that the transcultural aspect no longer consults the origin but rather cultural practices that merge cultural boundaries.
Bali dalam Novel Liebe und Tod auf Bali Karya Penulis Wanita Jerman Vicky Baum Lilawati Kurnia
SUSASTRA: Jurnal Ilmu Susastra dan Budaya Vol 1, No 1 (2005): Susastra: Jurnal Ilmu Susastra dan Budaya (Juni 2005)
Publisher : HISKI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51817/susastra.v1i1.15

Abstract

Liebe und Tod auf Bali, or Love and Death in Bali is the masterpiece of Vicky Baum, a female author from Germany. A Balinese Romeo and Juliet, it tells the story of a love forbidden because of caste difference. The background for this story is the colonial East Indies or Indonesia during its occupation by the Dutch. Baum showed her sympathy with the Balinese through her detailed ethnographical story of the people and their traditions. She wanted to argue the Balinese were still in a medieval state and needed to be brought into Western civilization, which was more modern and advanced. In doing so, Baum was adopting the perspective of the colonial, and once again the power of Western civilization won.Kata kunci: citra, etnosentrisme, eksotisme, etnografis, das Fremde, das Eigene.
Goethe dan Aspek Multikultural Sastra Dunia Lilawati Kurnia
SUSASTRA: Jurnal Ilmu Susastra dan Budaya Vol 2, No 4 (2006): Susastra 4: Jurnal Ilmu Sastra dan Budaya
Publisher : HISKI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51817/susastra.v2i4.61

Abstract

When we use the term 'World Literature', what comes into our minds is the meaning of the two words, what is the mean by World?Literature? We can browse through the internet and try to find the meaning of this phrase in the cyber world, but can all definitions and lists of works from the many writers in the sites actually be acknowledged as World Literature? Moreover, if we try  to explore the two words, does 'literature' only refer to literary works or all kinds of literature including books? The next word is 'world' of course has its own problem because we do not actually know whether it means the whole world in which every single literary work on earth is considered as world literature or it only refers to certain parts of the world like Europe and America.       The phare Weliliteratur was first articulated by a German writer, Wieland, in the context of world culture that privileges literary works in order to bring people to the world. It was quite different when Goethe used this phrase in his letter to Karl Streckfub, a translator of Italian classical works on 27 January1927, and Goethe used the word Welt in acontext of literature beyond the national context, literature outside German across national boundaries. Goethe articulated it by saying:       "I am more convinced, "Goehte remarked, " that poetry is the universal possession of mankind, revealing itself everywhere and at all times in hundreds and hundreds of men... I therefore like to look about me in foreign nations, and advise everyone to do the same. National literature is now a rather unmeaning term; the epoch of world literature is at hand, and everyone must strive to hasten its approach."       The term used by Goethe gives out a modern sense which suits the globalize era where we live now. In this case, Goethe seemed to be ahead of his time in making a literary contribution.
Goethe dan Aspek Multikultural Sastra Dunia Lilawati Kurnia
SUSASTRA: Jurnal Ilmu Susastra dan Budaya Vol 2, No 4 (2006): Susastra 4: Jurnal Ilmu Sastra dan Budaya
Publisher : HISKI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51817/susastra.v2i4.63

Abstract

When we use the term ‘Word Literature’, what comes into our minds is the meaning of the two words, what is meant by World – Literature? We can browse through the internet and try to find the meaning of this phrase in the cyber world, but can all definitions and lists of works from the many writers in the sites actually be acknowledged as World Literature? Moreover, if we try to explore the two words, does ‘literature’ only refer to literary works or all kinds of literature including books? The next word is ‘world’ of course has its own problem because we do not actually kniw whether it means the whole world in which every single literary work on earth is considered as world literature or it only refers to certain parts of the world like Europe and America.The phrase Weltliteratur was first articulated by a German Writer, Wieland, in the contect of world culture that privileges literary works in order to bring people to the world. It was quite different when Goethe used this phrase in his letter to Karl Streckfub, a translator of Italian classical works on 27 January 1927, and Goethe used that phrase again in his conversation with Johann Peter Eckermann, a young man who did some internship with him, on 31 January 1831. Goethe used the word Welt in a context of literature beyond the national context, literature outside German across national boundaries. Goethe articulated it by saying:“I am more convinced,” Goethe remarked, “that poetry is the universal possession of mankind, revealing itself everywhere and at all times in hundreds and hundreds of men… I therefore like to look about me in foreign nations, and advise everyone to do the same. National literature is now a rather unmeaning term; the epoch of world literature is at hand, and everyone must strive to hasten its approach.”The term used by Goethe gives out a modern sense which suits the globalize era where we live now. In this case, Goethe seemed to be ahead of his time in making a literary contribution.
Co-Authors Ade Ariyani Sari Fajarwati Wawat Rahwati