Retorik: Jurnal Ilmu Humaniora
Retorik: Jurnal Ilmu Humaniora was founded in 2001 with the aim of seeking a new scientific ethos in the humanities with an interdisciplinary, political, and textual spirit. It was, and still remains, the aspiration of Retorik to foster humanities research with a scientific ethos capable of responding to the needs of the Indonesian society that continues to strive to become more democratic, just, and pluralistic in the aftermath of long authoritarian rule, under social, economic, and political conditions still characterized by inequality. In its interdisciplinary spirit, Retorik has drawn insights from an array of disciplines, most notably, political economy, language (including semiotics), and psychoanalysis, to that end. As various managerial requirements stifle the passion for academic and intellectual life, while simultaneously in the broader Indonesian society, the ideals of Reformation are frustrated by political and economic oligarchy that continues to exist with impunity, Retorik affirms the need to defend a scientific ethos at present, for the future. In light of its aims, Retorik promotes original research that makes advances in the following areas: 1. Historically-informed studies that engage with the conditions, contexts, and relations of power within which the humanities were born, and with which the humanities are entwined. 2. Dialogues with various disciplines in the humanities and social sciences, including history, sociology, psychology, and anthropology. 3. Interdisciplinary research pertaining to critical pedagogy, religious and cultural studies, art studies, and new social movements. 4. Experimentation with new forms of knowledge that foster the formation of a more democratic, just, and plural society. 5. Studies that are sensitive to the vital role of both technology and art in contemporary society and seek to understand the ways in which art, technology, and economy together contribute to the formation of contemporary cultures and societies.
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<![CDATA[Mengkaji Interdisiplinaritas: Tak Selamanya Kerja Interdisipliner Itu Baik ]]>
<![CDATA[Dominikus Sukristiono]]>
<![CDATA[ Retorik: Jurnal Ilmu Humaniora Vol 11, No 2 (2023) ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
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DOI: 10.24071/ret.v11i2.7494
<![CDATA[In addition to novelty and relevance, interdisciplinarity seems to be an imperative predicate in the scientific works carried out in Indonesia. Unfortunately, research on the interdisciplinarity itself, particularly from the perspective of philosophy of science, either descriptive or normative, i.e., what and how interdisciplinary has been (and should be) done is still a desideratum. Through database and normative-philosophical analysis, this article shows that most of the interdisciplinary works hitherto carried out are either additive or interpretative/take-over in nature. Such works would be bad scientific practices. Good interdisciplinary works presuppose the existence of interdisciplinary material objects and their formal ones. These normative requirements, however, lead to a dilemma which should be faced by those who work interdisciplinarily.]]>
<![CDATA[Antonio José Bolivar adalah Kita: Wacana Pascakolonial dalam Novel Pak Tua yang Membaca Kisah Cinta karya Luis Sepúlveda ]]>
<![CDATA[Ivo Trias Julianno]]>
<![CDATA[ Retorik: Jurnal Ilmu Humaniora Vol 11, No 2 (2023) ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
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DOI: 10.24071/ret.v11i2.6126
<![CDATA[Pak Tua yang Membaca Kisah Cinta merupakan novel karya Luis Sepúlveda yang diterjemahkan dan diterbitkan untuk pertama kalinya di Indonesia oleh Marjin Kiri pada akhir 2005. Novel dengan judul asli Un viejo que leía novelas de amor merupakan produk kanon sastra Amerika Latin yang terbit pada 1989. Alur dalam novel menggambarkan dengan jelas bagaimana situasi masyarakat pascakolonial di Amerika Latin. Sayangnya, pembacaan pascakolonial sangat minim dilakukan terhadap teks novel terjemahan ini. Padahal pada konteks pascakolonial, kerja penerjemahan teks tidak bisa dianggap sebagai pekerjaan yang asal pilih, manasuka, bahkan tanpa muatan politis di balik layar. Apalagi jika teks yang diterjemahkan berasal dari negara-negara dunia ketiga dan/atau bekas terjajah. Penerjemah tentu akan memiliki alasan fundamental dalam memilah dan memilih sebuah teks (sastra pascakolonial) yang hendak diterjemahkan. Demikian akhirnya saya memutuskan untuk melakukan alternatif pembacaan yang bisa digunakan pada novel terjemahan ini dengan menggunakan konsep hibriditas Homi K. Bhabha. Di sisi lain, saya pun ingin melihat sejauh mana Luis Sepúlveda menggambarkan fenomena pascakolonial pada masyarakat Amerika Latin sebagai masyarakat bekas terjajah yang terepresentasikan melalui konflik-konflik dalam novelnya. Sebab realitas dalam novel adalah realitas yang dialami Luis Sepúlveda sewaktu melakukan ekspedisi bersama UNESCO selama tujuh bulan di wilayah masyarakat adat Suku Shuar di Ekuador. Artinya, membaca novel Pak Tua yang Membaca Kisah Cinta berarti membaca bagaimana pengarang memposisikan dirinya sebagai the other dalam institusi kebudayaan yang berbeda. Lalu memahami dua konteks tersebut berarti kita mencoba untuk menyadari seperti apa kondisi masyarakat kita di Indonesia, sebagai sesama masyarakat pascakolonial.]]>
<![CDATA[Posthumanism is Right in so far as Humanism is Not Human Enough: Introducing Vol. 11 No. 2 ]]>
<![CDATA[Min Seong Kim]]>
<![CDATA[ Retorik: Jurnal Ilmu Humaniora Vol 11, No 2 (2023) ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
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DOI: 10.24071/ret.v11i2.7885
<![CDATA[Alongside the “Anthropocene,” “posthuman” undoubtedly counts among the most prominent keywords of today’s academic discourses. Its increasing prominence in the Indonesian academia was reflected in the theme of the Sanata Dharma Berbagi conference held in October 2023. The title of the fifth edition of the ASLE-ASEAN Ecocritical Conference held in Chiang Rai, Thailand, just a month later, too, was “Posthuman Southeast Asia.” If the conference series had understandably close affinity with broadly posthumanist orientations from its inception, the title of the fifth iteration of the conference perhaps distinguished itself with its constative resonance, that Southeast Asia already is posthuman. The avenues for thought that the posthumanist wave clears, particularly in the Indonesian context wherein it represents advances beyond a myopic culturalism that so often constrains research in the humanities, deserve full intellectual attention from those in the field of cultural studies in the country. However, even though I myself have recently defended certain theoretical projects that are sometimes associated with posthumanism, I still remain hesitant to ride the wave of posthumanism at full speed. For I have also found myself wondering whether the great strides promised by posthumanism risk obfuscating alternative paths forward potentially opened by other lines of thought.]]>
<![CDATA[Wawancara dengan Taring Padi: Kepeloporan, Kreativitas, Simbol, dan Peristiwa Documenta Fifteen ]]>
<![CDATA[Heronimus Heron]]>;
<![CDATA[Min Seong Kim]]>
<![CDATA[ Retorik: Jurnal Ilmu Humaniora Vol 11, No 2 (2023) ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
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DOI: 10.24071/ret.v11i2.7131
<![CDATA[A work by the Indonesian artist collective Taring Padi titled People’s Justice caused great controversy during the fifteenth edition of Documenta, which took place in Kassel in the year 2022. While discussions over the Documenta incident were still ongoing, on 19 September 2022, we were able to meet eight of the members of Taring Padi in Yogyakarta, Indonesia, to hear their thoughts on the controversy as well as gain insight into their creative process and political orientation. We publish the interview in full in Retorik with the permission of Taring Padi.]]>
<![CDATA[Kondisi Poshuman di Mongrel (2021) Karya Sabda Armandio ]]>
<![CDATA[Helmi Naufal Zul'azmi]]>
<![CDATA[ Retorik: Jurnal Ilmu Humaniora Vol 11, No 2 (2023) ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
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DOI: 10.24071/ret.v11i2.7377
<![CDATA[This article aims to examine the relations of posthuman subjects formed through language in Mongrel’s fiction. Relations of posthuman subjects will always be surrounded by the current situation being faced, so it is no longer necessary to differentiate human and nonhuman hierarchically. Mongrel is a fictional story published serially in the mass media KumparanPlus in 2021. This article uses a discursive approach to gain knowledge about the relationship of posthuman subjects by connecting meaning, representation, and context. This article shows that the posthuman conditions that surround characters in Mongrel include the economic crisis, advanced capitalism, and the creation of paguyuban (community), technology and artificial intelligence, and the work of shamans and the existence of Dimensi Kalia. In some ways, the posthuman condition in Mongrel exhibits the attempt to surpass the dichotomies especially between human/animal/plant/technology. The posthuman condition in Mongrel leads to a double-edged sword, namely the paguyuban going hand in hand with advanced capitalism. Mr. Polo, as the metaphor of advanced capitalism, no longer utilizes the dichotomy of human/nonhuman and modern science/shaman to develop his business. This is also the case for the paguyuban. However, what sets Mr. Polo apart is his attempt to control nonhuman entities in order to further his self-interested agenda.]]>
<![CDATA[Detato: Perjalanan Identitas "Kesalehan" dalam Kebertubuhan ]]>
<![CDATA[Tri Astuti Retno Dewanti]]>
<![CDATA[ Retorik: Jurnal Ilmu Humaniora Vol 11, No 2 (2023) ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
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DOI: 10.24071/ret.v11i2.7353
<![CDATA[This article examines detattooing (tattoo removal) as an expression of pious identity tied to the objectification of the body, which is inseparable from the hegemonic “pietism” of the socialized body. In the discourse of the revival of piety in contemporary Indonesia, the struggle for body identity in the Hijrah Tattoo Program shows the commotion between personal meanings and the occurrence of a conflict of power. Using in-depth interview methods and internet searching, as well as a psychoanalytic perspective, particularly that of the three registers elaborated by Jacques Lacan, this study juxtaposes and compares the strength of political, corporate, religious, and family power relations in the practice of detattoo and the three stages of detattooization in Indonesia. The results of the analysis show that detattooization in the discourse of social piety is a product of the hegemony of political, corporate, and religious power relations which are managed by the subjects of detattoo as a negotiating strategy to reclaim access to conditions of fulfillment validated by the family hierarchy.]]>
<![CDATA[Stand Up Sinden: Komodifikasi Dalam Pertunjukan Wayang Kulit dan Live Streaming Youtube ]]>
<![CDATA[Allasso, Elisha Orcarus]]>
<![CDATA[ Retorik: Jurnal Ilmu Humaniora Vol 11, No 2 (2023) ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
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DOI: 10.24071/ret.v11i2.6318
<![CDATA[Pembuatan konten Youtube dan pembuatan live streaming wayang dalam kanal pribadi dalang menjadi salah satu usaha dalang untuk mendapatkan massa dan memperluas konsumen. Penampilan pertunjukan sinden yang berdiri, berdialog, menyanyi dan berjoget di tengah-tengah jalannya pertunjukan wayang kulit menjadi daya tarik tersendiri untuk khalayak penggemar tontonan wayang kulit (dalam artikel ini kemudian menggunakan istilah “stand up sinden”). Artikel ini secara garis besar akan membahas mengenai bentuk komodifikasi yang terjadi pada fenomena stand up sinden pertunjukan Wayang Ki Seno Nugroho (KSN) dalam media Youtube. Pembahasan ini bertujuan untuk melihat bentuk komodifikasi yang terjadi pada fenomena stand up sinden dan dampaknya ke depan, utamanya dalam dunia seni pertunjukan wayang kulit. Penelitian ini menggunakan metode deskriptif kualitatif dengan sumber data dokumen (pribadi dan situs kanal media sosial Youtube), wawancara, dan observasi partisipasi yang dilakukan penulis sendiri. Komodifikasi yang terjadi pada fenomena stand up sinden pada pertunjukan wayang kulit KSN memiliki kesesuaian dengan pemikiran Vincent Mosco mengenai komodifikasi dengan tiga aspek: komodifikasi konten, komodifikasi khalayak, dan komodifikasi pekerja. Dari ketiga aspek, komodifikasi konten adalah bentuk komodifikasi yang dirasa paling dominan dalam pertunjukan KSN, terlebih untuk stand up sinden. Fenomena stand up sinden sebagai trend komodifikasi pada pertunjukan wayang kulit membuat para seniman lain melakukan berbagai upaya untuk mengikuti standar pertunjukan dengan level yang sama. Komodifikasi yang terjadi pada pertunjukan KSN, di satu sisi dapat mempermudah dan memberi kesenangan atas tercapainya laris yang didambakan para seniman pertunjukan. Di sisi lain, pertunjukan yang mengarah pada komodifikasi ini mengikis kesadaran objektif khalayak dikarenakan logika instrumental/media, dan hal-hal yang cepat populer ini juga akan cepat ditinggalkan oleh arus peminatan baru untuk industri kreatif lain. Pengaruh komodifikasi ini juga membuat karya seniman tertuang atas acuan kemauan khalayak dan bisa jadi menindas kemauan dirinya sendiri.]]>
