Articles
<![CDATA[Female Librarians Stereotype in the 2000s Indonesian Film ]]>
<![CDATA[Mayesti, Nina]]>;
<![CDATA[Salam, Aprinus]]>;
<![CDATA[Noviani, Ratna]]>
<![CDATA[ Record and Library Journal Vol 4, No 1 (2018) ]]>
Publisher : <![CDATA[D3 Teknisi Perpustakaan Fakultas Vokasi Universitas Airlangga ]]>
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DOI: 10.20473/rlj.V4-I1.2018.15-21
<![CDATA[This paper discusses about the research that had examined the female librarian stereotype in Indonesian films, particularly release during the 2000s. Using the paradigm of cultural and media studies, this research examined six Indonesian films portraying female librarian. The units of analysis in this study are those film scenes that were either set in a library or that portrayed female librarians. The method used to analyze the data source is the Critical Discourse Analysis. The results of this study showed that the female librarians were stereotyped in Indonesian films, such as age, dress and hair style. Librarians were depicted as an old woman with the old-fashioned dress and outdated hairstyle. The filmâs portrayal of the female librarians were representative of the stereotype in general, i.e. passive, stuffy, and orderly. But on the other hand they were depicted as a friendly, smart, helpful person, and sometimes breaking the rules. Library profession was portrayed traditionally as âlibrary-keeperâ, not as someone who plays a role in information and knowledge dissemination.]]>
<![CDATA[TEORI HARMONI PENGANTAR KAJIAN SASTRA BERBASIS KONSTITUSI ]]>
<![CDATA[Salam, Aprinus]]>
<![CDATA[ Paramasastra Vol 4, No 1 (2017): Vol 4 No 1 Bulan Maret Tahun 2017 ]]>
Publisher : <![CDATA[Universitas Negeri Surabaya ]]>
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DOI: 10.26740/parama.v4n1.p%p
<![CDATA[Literary studies can not be separated from the literary theory initiated and developed by ?Western? scholars. Indonesian Literature also refers to these theories in interpreting and explaining literary works. This paper intends to ask the historical contextuality and the theoretical independence of Indonesian literature as a nation that has a historicity different from the West. The main offer in this paper is the importance of a theory called the theory of harmony-constitution. The important objectives of the theoretical point of view of the theory of harmony-the constitution are 1) all efforts to build an independent society and social justice, 2) a happy and safe condition, and hence the freedom that has been achieved should always encourage unity, sovereignty and prosperity, and 3) the acknowledgment ?on the blessings of almighty God and by the noble driven.? Methodologically, the theory of harmony-constitution is based on semantics. This theory can be used to analyze social and cultural issues, but in the case of this paper will be tested to study literary works, especially the poetry of Chairil Anwar.]]>
<![CDATA[Pengajaran Sastra dan Politik Kebudayaan ]]>
<![CDATA[Salam, Aprinus]]>
<![CDATA[ INSANIA : Jurnal Pemikiran Alternatif Kependidikan Vol 13 No 3 (2008) ]]>
Publisher : <![CDATA[Fakultas Tarbiyah dan Ilmu Keguruan IAIN Purwokerto ]]>
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DOI: 10.24090/insania.v13i3.303
<![CDATA[High school textbooks on literary facing serious problem, namely its curriculum didn’t have clear paradigm and political-cultural basis. Its content is still subjectively-based on writer taste and still circling on technical matter. Therefore, literary lesson look like structural and cognitive memorizing. Old assumption that literary is a matter of “esthetical art†that haven’t connection with life reality is still dominant. Lesson content like this should be changed, by formulate or identifying several cultural problems in Indonesia. Based on that formulation and problems identification, literary lesson’s contents packed to understand culture problems in Indonesia, therefore learning literary not only literary itself, but also become a textual ideological strategy that having vision and mission to developing Indonesia. ]]>
<![CDATA[SI BULUS-BULUS SI RUMBUK-RUMBUK SEBAGAI TEKS YANG HEGEMONIK ]]>
<![CDATA[Harahap, Muharrina]]>;
<![CDATA[Faruk, Faruk]]>;
<![CDATA[Salam, Aprinus]]>
<![CDATA[ ATAVISME Vol 22, No 1 (2019): ATAVISME ]]>
Publisher : <![CDATA[Balai Bahasa Jawa Timur ]]>
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DOI: 10.24257/atavisme.v22i1.549.88-100
<![CDATA[Artikel ini membahas tentang karya sastra Mandailing yang berjudul Si Bulus-Bulus Si Rumbuk-Rumbuk karya Willem Iskander pada era kolonial. Tinjauan ini dimulai dengan melihat fenomena yang terjadi dalam penciptaan dan penerbitan teks tersebut. Teks Si Bulus-Bulus Si Rumbuk-Rumbuk dan kehidupan pengarangnya sangat kontradiktif dan paradoks. Di satu sisi mewacanakan resistensi namun di sisi lain mewacanakan konstruksi kolonial. Untuk mengkaji fenomena tersebut, penulis menggunakan pendekatan pascakolonial dan metode diskursif. Penulis menggunakan diskursus yang dibangun oleh dua orang pakar yang fokus meneliti tentang teks Si Bulus-Bulus Si Rumbuk-Rumbuk dan Willem Iskander. Kedua pakar tersebut yaitu, Rodgers dan Harahap. Melalui metode diskursif ini, penulis mengkonstruksi ulang pendapat kedua pakar tersebut dengan menggunakan perspektif pascakolonial. Selain melihat teks, penulis juga melihat konteks sosial, politik, dan budaya orang Mandailing sebagai pendukungnya. Hasil dari penelitian ini menunjukkan bahwa Willem Iskander merupakan tokoh yang ambivalen. Tokoh yang menyuarakan resistensi dan tokoh yang patuh pada konstruksi kolonial.]]>
<![CDATA[GAZE PUISI “AT TA’SYIRAH†HISYAM AL JAKH ]]>
<![CDATA[SM, M. Hafidzulloh]]>;
<![CDATA[Salam, Aprinus]]>
<![CDATA[ ATAVISME Vol 23, No 1 (2020): ATAVISME ]]>
Publisher : <![CDATA[Balai Bahasa Jawa Timur ]]>
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DOI: 10.24257/atavisme.v23i1.602.1-16
<![CDATA[Penelitian ini bertujuan membahas konsep gaze Hisyam Aljakh dengan perspektif Slavoj ?i?ek. Diskursus mengenai gaze dalam karya sastra menyangkut narasi representasi subjek pengarang dari eksterioritas simbolisnya. Representasi dari the other ini mengindikasikan adanya ideologi tertentu pada pengarang yang sudah terkonstruksi secara sistemik dan direpresentasikan melalui uraiannya. Penjelmaan simbolis the other terhadap ideologi pengarang membuatnya terjerembap pada tataran simbolis, kemudian menjadikannya sebagai objek penyebab hasrat. Dalam konteks penelitian ini, gaze memperlihatkan bagaimana upaya yang dilakukan pengarang untuk memperlihatkan subjektivitasnya menuju posisi the real. Interpelasi the other terhadap subjek pengarang diperlihatkan dalam puisi ?Atta?syirah? karya Hisyam Aljakh yang mengilustrasikan adanya konstruksi simbolis dari eksternal pengarang. Dengan metode analisis tekstual dan identifikasi konstruksi simbolis, penelitian ini menghasilkan temuan bahwa gaze berhasil mengkonstruksi ideologi pengarang dengan perjumpaan simbolis yang merepresentasikan eksternalnya sekaligus menunjukkan bahwa tulisan itu merupakan representasi dari tatanan simbolisnya.[Hisyam Aljakh?s Gaze in "Atta?syirah"] This research discusses the gaze concept of Hisyam Aljakh with Slavoj ?i?ek?s perspective. The discourse on gaze in literary works concerns the author?s narration of his subject representation and symbolic exteriority. This representation of the other indicates a the author?s certain ideology which is already systematically constructed and represented through the author?s explanation. The symbolic embodiment of the other on the author?s ideology brings it into the symbolic order, and subsequently makes it the object of desire. In this research, gaze illustratesthe author?s effort to expose his subjectivity leading to the real position. The interpellation of the other on the author?s subject is portrayed on the poem of ?Atta?syirah? by Hisyam Aljakh which illustrates the symbolic construction external to the author. With the textual analysis method and symbolic construction identification, this research found that the existence of gaze successfully constructs the author's ideology with a symbolic encounter that represents the external as well as revealsthat the writing isa representation of the symbolic order.Keywords: gaze; subjectivity; symbolic construction; Atta?syirah; Slavoj ?i?ek]]>
<![CDATA[TEORI HARMONI PENGANTAR KAJIAN SASTRA BERBASIS KONSTITUSI ]]>
<![CDATA[Salam, Aprinus]]>
<![CDATA[ Paramasastra: Jurnal Ilmiah Bahasa Sastra dan Pembelajarannya Vol 4, No 1 (2017): Vol 4 No 1 Bulan Maret Tahun 2017 ]]>
Publisher : <![CDATA[Universitas Negeri Surabaya ]]>
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DOI: 10.26740/parama.v4n1.p%p
<![CDATA[Literary studies can not be separated from the literary theory initiated and developed by “Western†scholars. Indonesian Literature also refers to these theories in interpreting and explaining literary works. This paper intends to ask the historical contextuality and the theoretical independence of Indonesian literature as a nation that has a historicity different from the West. The main offer in this paper is the importance of a theory called the theory of harmony-constitution. The important objectives of the theoretical point of view of the theory of harmony-the constitution are 1) all efforts to build an independent society and social justice, 2) a happy and safe condition, and hence the freedom that has been achieved should always encourage unity, sovereignty and prosperity, and 3) the acknowledgment “on the blessings of almighty God and by the noble driven.†Methodologically, the theory of harmony-constitution is based on semantics. This theory can be used to analyze social and cultural issues, but in the case of this paper will be tested to study literary works, especially the poetry of Chairil Anwar.]]>
<![CDATA[POTENSIALITAS PUISI BITHOQOH HAWIYAH KARYA MAHMUD DARWISH: MENILIK POLITIK KEDAULATAN NEGARA PALESTINA ]]>
<![CDATA[M. Hafidzulloh, S.M, M. Hafidzulloh, S.M]]>;
<![CDATA[Salam, Aprinus]]>
<![CDATA[ Jurnal Pendidikan Bahasa dan Sastra Vol 21, No 1 (2021): APRIL 2021 ]]>
Publisher : <![CDATA[Universitas Pendidikan Indonesia ]]>
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DOI: 10.17509/bs_jpbsp.v21i1.36658
<![CDATA[Mahmud Darwish adalah penyair Arab berkebangsaan Palestina yang menyuarakan kebebasan dan kritik terhadap konflik Palestina-Israel melalui karya-karya sastranya. Sebuah karya sastra berpotensi memberikan kontribusi nyata untuk meneguhkan kedaulatan suatu Negara-bangsa. Puisi Bithoqoh Hawiyah merupakan karya fenomenal Mahmud Darwish yang mencerminkan identitas kebangsaan dan bentuk representatif warga untuk tetap mempertahankan kedaulatan Negara Palestina akibat invansi Negara Israel. Penelitian ini bertujuan mengungkap potensialitas dalam puisi Bithoqoh Hawiyah Mahmud Darwis. Puisi Bhitoqoh Hawiyah menghadapkan reduksi kehidupan ‘politis’ warga dalam kedaulatan Negara dengan kemerdekaan Negara yang imajiner. Potensialitas ditransformasikan secara aktual dalam karya sastra sebagai gambaran kehidupan manusia dengan motif untuk berdialektika dengan kenyataan. Kritik puisi Bithoqoh Hawiyah dieksplorasi lebih jauh melalui perspektif filsafat politik Giorgio Agamben, yang membentuk konsepsi tentang potensialitas politik warga, negara dan kedaulatannya. Potensialitas dalam puisi Bhitoqoh Hawiyah diasumsikan memiliki dualitas yang koheren dengan impotensialitasnya. Impotensialitas bekerja dalam ranah potensi penangguhan untuk menanggalkan nilai-nilai negatif yang terbingkai dari penjarahan Israel. Karena itu, artikel ini menunjukkan bahwa puisi Bithoqoh Hawiyah merupakan bentuk kritik terhadap berbagai peristiwa sosial-politik yang terjadi antara Palestina dan Israel, dan sebagai pengalaman kolektif warga Palestina untuk mengukuhkan kemerdekaan mereka.]]>
<![CDATA[Patriotisme sebagai Ruang Ketiga: Praktik Ritual Adat Ujung Mantra dalam Masyarakat Gucialit-Lumajang ]]>
<![CDATA[Salam, Aprinus]]>
<![CDATA[ Arif: Jurnal Sastra dan Kearifan Lokal Vol. 3 No. 1 (2023): Arif: Jurnal Sastra dan Kearifan Lokal ]]>
Publisher : <![CDATA[Fakultas Bahasa dan Seni ]]>
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DOI: 10.21009/Arif.031.06
<![CDATA[Perubahan prosesi ritual adat dalam suatu tradisi masyarakat merupakan hal yang lazim terjadi seiring pergerakan sosiokultural masyarakat. Bagaimana tradisi dan budaya berubah di antara pergerakan manusia secara kolektif, periode sejarah, dan hubungan dilematis antara agama, budaya (adat), dan transisi lainnya. Tulisan ini memusatkan perhatian pada upacara adat ujung mantra masyarakat Lumajang. Apakah ujung mantra pada masyarakat Gucialit Lumajang yang menuju modern masih mempertahankan otentitasnya? Sebagai ruang kultural, berdasarkan data historisnya, Lumajang adalah wilayah diaspora sehingga sebagian besar masyarakatnya adalah Madura-Jawa dan masyarakat Gucialit, sebagian besar beragama Islam. Bahasan utama tulisan, adalah sejarah, praktik, dan perubahan-perubahan yang terjadi dalam upacara adat ujung mantra. Di balik praktik ritual tercipta ruang liminal dengan menghadirkan wacana patriotik. Tujuan upacara bergeser dari ritual pemanggil hujan menjadi mencipta kerukunan antarwarga. Patriotisme sebagai strategi pengalihan wacana dan alternatif untuk melebur persinggungan antara agama, budaya, dan modernitas di dalam ruang ketiga (ujung mantra).]]>
<![CDATA[The Contestation of Magic in the Adaptation of a Fairy Tale into a Film: Snow White to Snow White and the Huntsman ]]>
<![CDATA[Pujiati, Hat]]>;
<![CDATA[Faruk, Faruk]]>;
<![CDATA[Salam, Aprinus]]>
<![CDATA[ Language Circle: Journal of Language and Literature Vol 18, No 1 (2023): October 2023 ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/lc.v18i1.47868
<![CDATA[Fairy tales are considered stories for children because of magical events in them. The consideration is based on assumptions that children's rationality is not well-developed yet. However, adaptation of fairy tales continues in the time when people do not believe in magic anymore, even they multiply the magical elements in the works of adaptation. This article analyses positions of magical and real elements in a fairy tale entitled ‘Snow White’ by Brothers Grimm and a film directed by Rupert Sanders called Snow White and the Huntsman. We apply theory of Adaptation by Linda Hutcheon to recognize the adaptation as a product, process, and context while to map the magical elements in the two stories we apply magical realism by Wendy B. Faris. To explore the context of adaptation of the magical elements, constructionism by Vivien Burr is also applied. The results of this paper analysis show the position of magical element in the adaptation varies. The variation become possible First, the magical element is dominant in Snow White by Grimm but logic invades the magical element. Second, the adaptation of Snow white in the form of film shows the dominance of magical element in a hyper-contestation of magic. Third, both works are not magical realism works which support the same agenda in different ways. Grimm’s version supports colonialization discourse with the logic of the post-enlightenment paradigm, and the film version supports re-colonialization discourse through the contestation of magic that is technological rather than ideological.]]>
<![CDATA[Arena and (Re)Stabilization of Reog Bulkiyo Dance Cultural Production ]]>
<![CDATA[Salam, Aprinus]]>;
<![CDATA[Maulana, Alfian]]>
<![CDATA[ Jurnal Kawistara Vol 14, No 2 (2024) ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/kawistara.92385
<![CDATA[Contestation among traditional art performances, in the technology and information era, creates complex and diverse challenge to the dance of Reog Bulkiyo. In 1999, the dance had to be stopped following the regeneration and economical problem. Although Reog Bulkiyo has been performed again since 2009, the conditions which makes this dance can be produced is still inexplicable. This article attempts to explain why dance experiencing production and activity stagnation. Pierre Bourdieu’s cultural production theory is used to analyze this problem, while ethnographic qualitative is used as the method. This study found that Reog Bulkiyo dance is in the arena of traditional dance art which has a double-tiered structure. The first structure leads to popular culture, while the second structure leads to art culture. In the first structure, Reog Bulkiyo dance group uses relational capital with relatives, social and Islamic groups to survive in the midst of competition with other popular arts. The dance then gains a relationship with the academy and the state which provides relational, cultural, and symbolic capital in the form of granting intangible cultural heritage status. These two relations give Reog Bulkiyo dance group the opportunity to maintain its cultural production.]]>
