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Poetika: Jurnal Ilmu Sastra
Published by Universitas Gadjah Mada
ISSN : 23385383     EISSN : 25034642     DOI : https://doi.org/10.22146/poetika.v2i2.10445
Core Subject : Humanities, Art,
Arts Humanities
POETIKA: Jurnal Ilmu Sastra publishes academic articles within the scope of literary criticism (limited to poem, prose, drama, oral tradition, and philology). The articles cover the form of a result on specific analysis; academic reports; closed reading; and the application of certain theories to enrich literary study.
Arjuna Subject : Seni dan Humaniora - Sastra dan Teori Sastra
Articles 197 Documents
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The Abject Rogue: Satire, Social Critique, and Imperial Ambiguities in Tobias Smollett’s Roderick Random Rasus Budhyono; Randy Ridwansyah; Budi Rukhyana
POETIKA Vol 14, No 1 (2026): Issue 1
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/poetika.v14i1.117288

Abstract

In Tobias Smollett’s Roderick Random (1748), the eponymous picaresque protagonist embarks on wanderings across regional, national, transatlantic, and social boundaries. Conveyed through a first-person narrative that blends satirical and picaresque aesthetics, the novel presents the worldview of a Scottish-born young man exposed to the vicissitudes of life during the period when the newly amalgamated United Kingdom was forging its path toward becoming a global empire. Rather than examining the novel’s historical impact on the social ailments of the eighteenth century that it satirizes, this article explores how the text constructs a literary imagination of a British Empire in the making. The protagonist’s role as an itinerant rogue grants him the narrative mobility necessary to expose aspects of eighteenth-century life that become targets of satire. By combining theories of satire, the picaresque, and abjection, this study argues that the novel’s narrative design both critiques and participates in the shaping of imperial ideology. Drawing on Edward Said’s contrapuntal reading method and Suvir Kaul’s postcolonial perspective, this article seeks to enrich discussions of the British Empire's fictional imagination. While existing scholarship has largely focused on the height of empire in the nineteenth century and its subsequent decline, this study returns to the mid-eighteenth century, when the vision and foundations of global empire were still being forged. The article argues that the novel reveals an ironic double stance toward colonial exploitation. While Roderick’s eventual rise to wealth and social status depends entirely on the plantation economy, the narrative remains silent about transatlantic slavery as the source of that fortune. This whitewashing of colonial violence exposes the deep moral ambiguities embedded in mid-century British expansion.
Introduction: Literature, Power, and the Making of Alternative Knowledges Maria Luisa Torres Reyes
POETIKA Vol 14, No 1 (2026): Issue 1
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/poetika.v14i1.121383

Abstract

Literature occupies a distinctive position among cultural forms because it does not merely represent the world; it also participates in the production of social meanings through which communities understand history, identity, power, and belonging. Across different historical periods and geographical contexts, literary narratives have functioned as sites where dominant values are reproduced, contested, transformed, and reimagined. They provide frameworks for interpreting collective experiences, negotiating cultural differences, and articulating alternative visions of social life. The essays gathered in this special section demonstrate the enduring significance of literature as a medium through which competing understandings of the past and present are constructed and challenged. Spanning diverse temporal, linguistic, and cultural contexts—from South and Southeast Asian adaptations of Sanskrit epic traditions to contemporary Indonesian children's literature, from eighteenth-century British imperial fiction to contemporary Palestinian resistance literature—the contributions examine how literary texts
Alienation and Search for Meaning in John Williams' Stoner Bima Satria Naufal Prahananda; Rizal Octofianto Datau; Usma Nur Dian Rosyidah
POETIKA Vol 14, No 2 (2026): Issue 2
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/poetika.v14i2.108542

Abstract

While many individuals in modern society experience alienation, few literary works capture this existential condition as profoundly as John Williams’ Stoner. The novel’s portrayal of emotional detachment, dissatisfaction in marriage, and professional disillusionment offers valuable insight into the human search for meaning of existence in life. However, there is still limited scholarly focus on how Stoner’s existential alienation leads to personal transformation and meaning-making when analyzed through Sartre’s existentialism. This study aims to explore how the protagonist, William Stoner, experiences alienation in both his personal and professional life, and how these experiences influence his journey to find meaning of existence in life. Using a qualitative approach, this study employs literary content analysis and applies Jean-Paul Sartre’s existentialist framework, particularly the tenets of alienation, freedom, and responsibility. The findings reveal that Stoner faces persistent alienation from a loveless marriage, a distant daughter, academic conflicts, and a hostile institutional environment. Yet, rather than succumbing to despair, he chooses to endure quietly, embracing his responsibilities and remaining loyal to his passion for literature. This quiet perseverance reflects an authentic existential stance. The study suggests that meaning can emerge not from external validation but through authenticity by remaining true to one’s values and personal responsibilities. These findings highlight the relevance of existentialist themes in understanding the psychological struggles of modern individuals.
When Judith Herman's Theory Cannot Heal Omar's Trauma Eva Farhah; Khabibi Muhammad Luthfi; Reza Sukma Nugraha; Afnan Arummi; Arifuddin Arifuddin; Muhammad Yunus Anis; Tri Yanti Nurul Hidayati; Nuha Qonita
POETIKA Vol 14, No 2 (2026): Issue 2
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/poetika.v14i2.113247

Abstract

This study examines Hany Abu-Assad’s film Omar (2013), focusing on the forms of recovery from trauma experienced by the character Omar. Drawing on Judith Herman’s (1992) theory of trauma and recovery, it investigates how Omar recovers from the trauma he experiences. Trauma is understood here as the lasting impact of an event, resembling an invisible wound that influences a character’s attitudes and actions. The data consist of images and dialogue indicating trauma recovery and are analyzed using a descriptive qualitative method. Omar’s recovery is described and interpreted in relation to Herman’s theoretical framework. The findings show that the forms of recovery vary according to the type of trauma Omar experiences. In the case of single trauma, his recovery can be explained through the stages described in Herman’s framework. In the case of prolonged trauma, however, his experience exceeds the scope of these stages, ultimately leading him to fight to the bitter end. These findings highlight the influence of the social, cultural, and political contexts in which the character is situated on his experiences of trauma and recovery. The study therefore suggests that Herman’s framework can explain certain aspects of Omar’s recovery but has limitations in accounting for his response to prolonged trauma.
Resistance and Silencing of Subaltern Women in the Short Story 'Perangkap' by Isbedy Stiawan ZS Prayoga Ramadhani; Maria Lidwina Jati
POETIKA Vol 14, No 2 (2026): Issue 2
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/poetika.v14i2.116916

Abstract

Women’s unequal position within the subaltern social structure is reinforced by their objectification as instruments for satisfying men’s desires. Women’s efforts to break free from this inequality are often interpreted as rebellion, even to the point of being accused of violating social expectations concerning women’s behavior and chastity. In the short story ‘Perangkap’ by Isbedy Stiawan ZS, the female writer character challenges women’s objectification by setting traps that lure men into sexual encounters with her. This study employs a qualitative descriptive method using Gayatri Spivak’s subaltern theory. The findings identify eight excerpts depicting women’s resistance to inequality and five depicting attempts to silence that resistance. The female writer character in this short story draws inspiration for her work from sexual encounters with men and uses her writing to voice injustice against women. However, the dominant group employs various strategies to silence her efforts to speak out against social inequality. This study concludes that the short story ‘Perangkap’ effectively portrays women’s sexual objectification, which persists in modern society. Therefore, it emphasizes the significance of giving women the opportunity to speak out in the ongoing struggle for equality.
The Rights of Capital and the Limits of Man: Representing the "Borderless" World in The Jungle Raisa Shafira Affandi
POETIKA Vol 14, No 2 (2026): Issue 2
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/poetika.v14i2.117992

Abstract

The play The Jungle by Joe Murphy and Joe Robertson narrates the lifespan of a real refugee camp in Calais, France, with refugees of various nationalities building the camp together in a limited space before it is demolished by the French authorities. This article uses textual analysis to investigate the play’s representation of a borderless world within the camp itself to see whether it demonstrates an alternative to the larger world order configured by national borders and regulations on who and what may cross them. Specifically, it compares the mobility of humans and capital across borders as key elements of a borderless world. Relevant passages from The Jungle are selected and analyzed through close reading, using the original script as the primary source and existing documentation and research as secondary sources. The analysis draws on Kenichi Ohmae’s concept of a borderless world, Masao Miyoshi’s concept of the transnational class, and Harald Bauder’s and Giorgio Agamben’s work on territoriality.  Research findings show that Salar’s restaurant becomes a means of asserting the camp’s legitimacy because its economic value appeals to the priorities of the nation-state, even as the refugees themselves remain excluded from secure political recognition and freedom of movement. While the play’s camp imagines a community beyond national borders, economic inequalities, divisions between national groups, and competing attachments to territory complicate this possibility. Ultimately, The Jungle exposes the asymmetry between the relatively unrestricted movement of capital and the constrained mobility of refugees, while showing how attempts to challenge the existing world order remain entangled in its structures.
From Mobility to Confinement: Nightmare Realism, Ambivalent Space, and Heterotopia in Migration Literature in Hassan Blasim’s “Truck to Berlin” Garin Arivian Muhammad; Nada Nadhifa Rosyida
POETIKA Vol 14, No 2 (2026): Issue 2
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/poetika.v14i2.118906

Abstract

Following the instability and political turmoil in Iraq since 1980, many Iraqis decided to flee from their countries. Hassan Blasim is one of the Iraqis who began his journey in 2000 to Europe and finally settled in Finland in 2004. Subsequently, Blasim as an Iraqi writer and filmmaker, presented the lived realities and complexities of migrants during their mobility through collections of stories. The most prominent of his works is The Madman of Freedom Square, and the story of Truck to Berlin is one part in that collection. This study examines Blasim’s Truck to Berlin through the lens of migration literature, focusing on how mobility is shifting into confinement within the narrative. Drawing on Bhabha’s concept of ambivalence, Foucault’s notion of heterotopia, Sellman’s framework of nightmare realism, and Fludernik’s narratological framework, the study analyzes how the truck functions as an ambivalent space that simultaneously embodies safety and threat, tranquility and turmoil, as well as life and death. Employing a qualitative methodology grounded in a constructivist paradigm, the study explores how narrative techniques such as focalization, narrative perspective, and discourse time construct migrants’ psychological and spatial experiences. The findings reveal that the truck is not solely a means of transportation but a heterotopic space where mobility is filled with uncertainty, and boundaries between reality and nightmare collapse. Eventually, this study argues that the co-presence of heterotopia, ambivalence, and nightmare realism in Blasim's Truck to Berlin is not a descriptive feature of the text but a structural argument. These frameworks illustrate that Blasim’s work fundamentally reorients the migration literature from a destination-oriented perspective toward a temporary space where migrant existence remains suspended and unresolved.

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