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SUSASTRA: jurnal Ilmu Susastra dan Budaya diterbitkan oleh Himpunan Sarjana Kesusastraan Indonesia (HISKI), Grha STR, Jalan Ampera Raya nomor 11, Telepon (021) 7813708, Jakarta Selatan 12550
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Susastra : Jurnal Ilmu Sastra dan Budaya
Published by Himpunan Sarjana Kesusastraan Indonesia Malang Indonesia
ISSN : 2580636X     EISSN : 2580636X     DOI : https://doi.org/10.51817/susastra
Core Subject : Humanities, Education, Social,
Humanities Education Social Sciences
SUSASTRA: Jurnal Ilmu Susastra dan Budaya (2580-636X) is a journal aiming to publish articles about literature and culture. SUSASTRA: Jurnal Ilmu Susastra dan Budaya accepts articles from authors of national or international institutions, accepts submissions of original articles that have not been published elsewhere not being considered or processed for publication anywhere, and demonstrate no plagiarism whatsever. The prerequisites, standards, and format of the manuscript are listed in the author guidelines and templates. Any accepted manuscript will be reviewed by at least two referees. Authors are free of charge throughout the whole process, including article submission, review and editing process, and publication. Submissions are open year-around. Articles published in SUSASTRA: Jurnal Ilmu Susastra dan Budaya must be a requirement determined by the Editoria Board. Editorial the board has the right to change editorials and systematics without changing the substance of the recording from the author.
Arjuna Subject : Seni dan Humaniora - Sastra dan Teori Sastra
Articles 107 Documents
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Fragmentasi Konstruksi Gender dan Kebangsaan dalam Sastra Indonesia Era Reformasi Julia Suryakusuma
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.v2i4.56

Abstract

Women’s social values in post-Suharto Indonesia are marred by ambivalence, and even tainted by schizophrenia. How women are perceived is determined by may factors: class, ethnicity, religion, work, geographical location, etc. Due to the pluralistic character of Indonesia, we have been able to talk about ‘Indonesian women’ since a long time ago, let alone nowadays.The key to understanding today Indonesia is not merely diversity, but rather, fragmentation. This is inscribed in the constructions of gender, nation and ethnicity in literature, in which a ‘contestation of constructions’ which involves ‘sastrawangi’ writers, non-sastrawangi writers, chixklit, quasi-liberal women’s magazines, traditional and religious literature, popular literature from 1970s, as well as the official construction of women by the state, which remains dominant up to this point, and perhaps with an even more far reaching implication.
KEARIFAN EKOLOGIS DALAM CERITA RAKYAT DAYAK BAKUMPAI: KAJIAN EKOKRITIK Hestiyana Hestiyana
SUSASTRA: Jurnal Ilmu Susastra dan Budaya Vol 10, No 2 (2021): Susastra: Jurnal Ilmu Susastra dan Budaya (Desember 2021)
Publisher : HISKI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51817/susastra.v10i2.121

Abstract

This study aims to describe ecological wisdom in Bakumpai Dayak folklore using the theory of literary eco-criticism. This research method is descriptive qualitative. The source of the data in this study is the text of the Collection of Bakumpai Folklore. The data used are texts in folklore that focus on literary and environmental aspects entitled (1) “Mang Raja Haji dan Tujuh Orang Putri” and (2) “Jingah Terbang” as well as previous studies. The technique used in data collection and data analysis is text analysis technique. Text analysis techniques are used to describe the ecological wisdom values contained in Bakumpai Dayak folklore through an eco-critical approach and the relationship between Bakumpai Dayak folklore and the surrounding environment. The results of the analysis are presented in the form of a narrative text that explains the relationship between the surrounding environment and folklore. Then verification and conclusion are carried out, namely checking the data that has been collected and analyzed again. Based on the results of the study it was found that in the Bakumpai Dayak folklore "Mang Raja Haji dan Tujuh Orang Putri " and "Jingah Terbang" there are the same ecological wisdom values. Local wisdom in the Bakumpai Dayak folklore can be seen in (1) rivers and plants as ecological markers in the folklore of “Mang Raja Haji dan Tujuh Orang Putri” and (2) the jingah tree as an ecological marker in the “Jingah Terbang” folklore. The two Bakumpai Dayak folktales serve as reminders that humans should not be greedy towards the environment and always maintain the noble values of local wisdom towards the environment. The folklore also represents human life which can be fatal when the rivers and forests are not taken care of properly. AbstrakPenelitian ini bertujuan mendeskripsikan kearifan ekologis dalam cerita rakyat Dayak Bakumpai dengan menggunakan teori ekokritik sastra. Metode penelitian ini adalah deskriptif kualitatif. Sumber data dalam penelitian ini adalah teks Kumpulan Cerita Rakyat Bakumpai. Data yang digunakan adalah teks dalam cerita rakyat yang berfokus pada aspek sastra dan lingkungan yang berjudul (1) “Mang Raja Haji dan Tujuh Orang Putri” dan (2) “Jingah Terbang” serta kajian terdahulu. Teknik yang digunakan dalam pengumpulan data dan analisis data adalah teknik analisis teks. Teknik analisis teks digunakan untuk mendeskripsikan nilai-nilai kearifan ekologis yang terdapat dalam cerita rakyat Dayak Bakumpai melalui pendekatan ekokritik serta relasi antara cerita rakyat Dayak Bakumpai dengan lingkungan sekitar. Hasil analisis disajikan dalam bentuk teks naratif yang menjelaskan hubungan alam sekitar dengan cerita rakyat. Kemudian dilakukan verifikasi dan penarikan kesimpulan, yakni melakukan pengecekan kembali data yang sudah terkumpul dan dianalisis. Berdasarkan hasil penelitian ditemukan bahwa dalam cerita rakyat Dayak Bakumpai “Mang Raja Haji dan Tujuh Orang Putri” dan “Jingah Terbang” terdapat nilai-nilai kearifan ekologis yang sama. Kearifan lokal dalam cerita rakyat Dayak Bakumpai tersebut terlihat pada (1) sungai dan tumbuhan sebagai penanda ekologis dalam cerita rakyat “Mang Raja Haji dan Tujuh Orang Putri” dan (2) pohon jingah sebagai penanda ekologis dalam cerita rakyat “Jingah Terbang”. Kedua cerita rakyat Dayak Bakumpai itu berfungsi sebagai pengingat agar manusia tidak serakah terhadap lingkungan serta senantiasa menjaga nilai-nilai luhur kearifan lokal terhadap lingkungan. Cerita rakyat tersebut juga mempresentasikan kehidupan manusia yang berakibat fatal ketika sungai dan hutan tidak dijaga dengan baik.
TRANSFORMASI DIMENSI KEHIDUPAN SRIKANDI DALAM NOVEL KEKASIH MUSIM GUGUR KARYA LAKSMI PAMUNTJAK Nadhila Hibatul Nastikaputri; Sudibyo Prawiroatmodjo
SUSASTRA: Jurnal Ilmu Susastra dan Budaya Vol 11, No 2 (2022): Susastra: Jurnal Ilmu Susastra dan Budaya (Desember 2022)
Publisher : HISKI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51817/susastra.v11i2.124

Abstract

Kekasih Musim Gugur is a contemporary Indonesian fiction work that contains elements of traditional literary stories in the form of wayang (Indonesian shadow puppetry) tales. Based on the initial reading of the novel Kekasih Musim Gugur, several similarities in the portrayal of the main character, Srikandi Eilers, in the novel with the character of Srikandi in Javanese wayang were found. This research aims to describe the forms of transformation of wayang story elements in various dimensions of the life of the character Srikandi Eilers in the novel Kekasih Musim Gugur using the concept of intertextuality by Julia Kristeva. Through the analysis, it is revealed that the most prominent transformation in this novel is the transformation of character elements. Character transformation in this novel takes the form of naming and characterization transformations. The naming transformation model is applied to all the names of the main characters in the novel. Meanwhile, the characterization transformation model is applied to some of the main character's personas in the novel through three dimensions of the character's life: (1) Srikandi as Amba's child; (2) Srikandi as a stepmother; and (3) Srikandi as a bisexual woman. The transformation of characters is adapted by the author to the social context at the time when Kekasih Musim Gugur was written. By transforming the name of the wayang character Srikandi into the character of Srikandi Eilers, the author simultaneously transforms several aspects of her character. Therefore, the transformation of naming in the novel Kekasih Musim Gugur shows a typological tendency (naming based on a person's personality or character).AbstrakKekasih Musim Gugur merupakan karya fiksi Indonesia kontemporer yang di dalamnya mengandung unsur karya sastra lama berupa cerita pewayangan. Berdasarkan pembacaan awal terhadap novel Kekasih Musim Gugur, ditemukan adanya sejumlah kesamaan penggambaran Srikandi Eilers sebagai tokoh utama dalam novel tersebut dengan tokoh Srikandi dalam pewayangan Jawa. Penelitian ini bertujuan mendeskripsikan bentuk-bentuk transformasi unsur cerita pewayangan pada sejumlah dimensi kehidupan tokoh Srikandi Eilers dalam novel Kekasih Musim Gugur dengan menggunakan konsep teori intertekstualitas Julia Kristeva. Berdasarkan analisis, diketahui bahwa transformasi yang paling menonjol di novel ini adalah transformasi unsur penokohan. Transformasi penokohan dalam novel ini mengambil model transformasi penamaan dan perwatakan. Model transformasi penamaan dilakukan pada seluruh nama tokoh utama dalam novel. Sementara, model transformasi perwatakan dilakukan pada sebagian karakter tokoh utama novel melalui 3 dimensi kehidupan tokoh, yakni (1) Srikandi sebagai anak Amba; (2) Srikandi sebagai ibu tiri; dan (3) Srikandi sebagai perempuan biseksual. Pentranformasian karakter disesuaikan oleh penulis dengan konteks sosial saat Kekasih Musim Gugur dituliskan. Dalam melakukan transformasi nama tokoh wayang Srikandi pada diri Srikandi Eilers, penulis sekaligus mentransformasikan sejumlah karakternya. Dengan demikian, pentransformasian penamaan dalam novel Kekasih Musim Gugur menunjukkan kecenderungan tipologis (penamaan berdasarkan watak atau karakter seseorang).
Bentuk Fokalisasi dalam Novel Mencari Perempuan yang Hilang Karangan Imad Zaki: Kajian Naratologi Rendy Pribadi; Ninuk Lustyantie; NN Zuriyati
SUSASTRA: Jurnal Ilmu Susastra dan Budaya Vol 10, No 1 (2021): Susastra: Jurnal Ilmu Susastra dan Budaya (Juni 2021)
Publisher : HISKI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51817/susastra.v10i1.1

Abstract

Penelitian ini berupaya mengaji unsur penceritaan (gaya bercerita) dalam novel Mencari Perempuan Yang Hilang karya Imad Zaki dalam bentuk dialog, dan laku dari tokoh-tokohnya. Terdapat (temuan) sebuah gaya yang berbeda saat beberapa tokoh menceritakan kehidupannya, mulai dari pergantian tokoh dalam bercerita sehingga mengungkapkan beberapa sifat manusia dalam novel ini. Analisa dalam naratologi mencoba mengungkapkan sifat tesebut dengan tiga bentuk Analisa, yakni fokalisasi internal lalu eksternal dan fokalisir luar dan dalam. Fokalisasi internal berupaya menggambarkan dialog “akuan” dari dalam diri dan fokalisasi eksternal adalah perasaan yang digambarkan orang lain. Bentuk fokalisasi alinnya yakni keluar dan ke dalam. Fokalisasi keluar yakni pendeskripsian tokoh berdasarkan lahiriahnya. Lain hal dengan fokalisor keluar, fokalisor ke dalam menggunakan unsur batin dan ingatan saat menganalisanya. Penelitian ini menggunakan pendekatan kualitatif dengan metode pengumpulan data menggunakan metode kepustakaan. Interpretasi teks didapat dari monolog dan dialog yang adal pada tiap teks novel ini. Menggunakan teknik analisis isi. Penulis menemukan sejumlah teknik (gaya) bercerita; 1. Fokalisasi interen (“saya”) berdasarkan narator, 2. Fokalisasi ekstern dengan bentuk simbol, 3. Cerita harmonis dan miris dalam satu bingkai novel tersebut.
Karya Sastra sebagai Sumber Sejarah Bangsa I. B. Putera Manuaba
SUSASTRA: Jurnal Ilmu Susastra dan Budaya Vol 5, No 1 (2009): Susastra: Jurnal Ilmu Susastra dan Budaya
Publisher : HISKI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51817/susastra.v5i1.21

Abstract

Works of literature are multidimensional works which deliver various problems of human life. The vertical relationship between human and the creator and the horizontal relationship between human and the universe are pictured in these works. Therefore, the functions of literature are not only important for writers, but also for those of other disciplines like sociology. politics, psychology and history. While from its own perspective literature is an aesthetic object, for other disciplines it becomes a social document and an ephiphenomenon (second phenomenon). In the field of history, literature is not only a social document and the second phenomenon, but often it also serves as a source of history of the nation his becomes possible for in their creative processes writers do observations, experience the life and take notes of whatever happens in their time. As an individual and a member of society, they do internalizalions and social interactions, and then express them in their works Thus, literature appears to be a source of history of the nation, revealing the spirit of its time. Consequently, studying literature may also mean studying history of the nation. Writers write history in their own versions, which may be closer to the historical reality. The works that speak about nationalism through characters in storiess can arouse the spirit of the nation since they give historical spirit and data. The works of Pramoedya Ananta Toer and Y.B. Mangunwijaya, for example, become important historical works because they contain a lot of values ot the nation.
Apresiasi Sastra Indonesia di Sekolah Maman S. Mahayana
SUSASTRA: Jurnal Ilmu Susastra dan Budaya Vol 3, No 5 (2007): Susastra: Jurnal Ilmu Susastra dan Budaya
Publisher : HISKI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51817/susastra.v3i5.37

Abstract

The KTSP (Kurikulum Tingkat Satuan Pendidikan) gives an opportunity to teachers and schools alike in developing their own potentials. However, there should be a guarantee that tryout and evaluation are part and parcel of this opportunity, especially since it is widely known that the curriculum has undergone changesever so often. The local content as a manifestation of local potentials could be used as a rich source of teaching material by teachers and schools in developing their KTSP, especially in their teaching of Indonesian language and literature in addition, composition skills become crucial in order to balance the practice of language learning that is based on the mastery of linguistic knowledge in elementary, secondary and high schools. Students should be encouraged to appreciate literary works rather than understanding concepts. Through literary appreciation, students can develop mutual respect for each other regarding their individual opinions about literary works. Through the KTSP, both students' and teachers' freedom and creativity can be developed since the KTSP is not a holy book, but rather, a mere guideline that should be further interpreted by teachers.
Ungkapan Formulaik dalam Kakawin Baratayuddha (Pupuh 14—15) Kuntara Wiryamartana
SUSASTRA: Jurnal Ilmu Susastra dan Budaya Vol 3, No 6 (2007): Susatra 6: Jurnal Ilmu Sastra dan Budaya
Publisher : HISKI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51817/susastra.v3i6.66

Abstract

A brief survey of cantos 14 and 15 of Kakawin Bharatayuddha reveals the use of formulaic expressions. Those formulaic expressions function not only as fulfilment for metrical reuirements, but also as markers of narrative units, i.e. episodes, sub—episodes and other smaller units. For the readers/audiences they function also as signals pointing the course and the dynamics of the narrative.
BIMBOFICATION TO EMPOWER: REPRESENTATION OF HYPERFEMININITY ON TIKTOK Melanie Rosaria; Andika Wijaya
SUSASTRA: Jurnal Ilmu Susastra dan Budaya Vol 11, No 1 (2022): Susastra: Jurnal Ilmu Susastra dan Budaya (Juni 2022)
Publisher : HISKI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51817/susastra.v11i1.123

Abstract

Among the diversity of trends and subcultures on TikTok, bimbofication has become a notable phenomenon with its representation of hyperfemininity to dismantle misogyny and patriarchal standards in society. The movement acknowledges and challenges the stigma towards bimbos who are often portrayed as hyperfeminine women, while inviting the audience to engage in traits and attitudes that are associated with the stereotypes. The purpose of the movement is to empower and liberate women from the fear of misogyny. However, due to the layers and complexity in the discussion, bimbofication may provoke mixed interpretations and invite various responses. The complexity of bimbofication can be found in videos posted by Chrissy Chlapecka, a self-proclaimed bimbo figure on TikTok. This paper contributes to gender studies as it explores hyperfemininity representation in relation to the notion of women’s empowerment. Moreover, it also intersects with cultural studies as it examines a social phenomenon on social media, specifically TikTok movement, and how it challenges society's standards. By following Sandelowski purposive sampling method (1995) and Murnen and Byrne’s hyperfemininity scale (1991), it is found that regardless of the ambiguities and varying interpretations, bimbofication has provided a space for women to freely express and explore their unique version of femininity.AbstrakDi antara keragaman tren dan subkultur di TikTok, bimbofication telah menjadi fenomena penting karena representasi hiperfeminitasnya yang membongkar misogini dan standar patriarkis dalam masyarakat. Gerakan ini mengakui dan menantang stigma terhadap bimbo yang sering digambarkan sebagai wanita hiperfeminin sambil mengajak penonton untuk melibatkan diri mereka dengan sifat dan sikap yang terkait dengan stereotip tersebut. Tujuan dari gerakan ini adalah pemberdayaan dan pembebasan perempuan dari ketakutan akan misogini. Namun, karena lapisan-lapisan dan kompleksitas dalam diskusi ini, bimbofication dapat memicu interpretasi yang beragam dan mengundang berbagai macam tanggapan. Kompleksitas bimbofication dapat ditemukan dalam video yang diunggah oleh Chrissy Chlapecka, sosok yang memproklamirkan dirinya sebagai bimbo di TikTok. Artikel ini berkontribusi pada studi gender dengan mengeksplorasi representasi hiperfeminitas dalam kaitannya dengan gagasan pemberdayaan perempuan. Selain itu, penelitian ini juga bersinggungan dengan kajian budaya karena meneliti fenomena sosial di media sosial, khususnya gerakan TikTok, dan bagaimana gerakan ini menantang standar masyarakat. Dengan mengikuti metode purposive sampling dari Sandelowski (1995) dan menggunakan skala hiperfeminitas Murnen dan Byrne (1991), artikel ini menemukan bahwa, terlepas dari ambiguitas dan interpretasi yang berbeda-beda, bimbofication telah memberikan ruang bagi perempuan untuk berekspresi secara bebas dan mengeksplorasi feminitas mereka yang unik.
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.
Goenawan Mohamad Berpikir tentang Puisi dan Berpuisi dengan Ironi Abdul Rozak Zaidan
SUSASTRA: Jurnal Ilmu Susastra dan Budaya Vol 4, No 1 (2008): Susastra: Jurnal Ilmu Susastra dan Budaya
Publisher : HISKI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51817/susastra.v4i1.32

Abstract

Goenawan Mohamad thought about poetry and from that we know his thought about the essence of poetry. And then, Goenawan wrote his poetry with irony and we find out that irony is a means of communication in his poetry. The twothings will be discussed in this  simple paper chronologically as an effort to understand further the poetries ofGoenawan Mohamad compiled in two anthologies of the 1970s, Pariksit and Interlude: Pada Sebuah Pantai.

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