Ekspresi Resistensi

terhadap Dominasi Patriarki

Yulitin Sungkowati

Balai Bahasa Surabaya

Jalan Siwalanpanji, Buduran, Sidoarjo

yulitins@yahoo.com

Abstract

The aim of the article is to discuss Ayu Utami's resistance toward patriarchal domination in her novel, Saman, by using the expressive approach. Through the writing of Ayu Utami’s experience, perspective, and thought in the book, Si Parasit Lajang (2004), it can be identified that Saman (2003) is an expression of Utami’s struggle toward patriarchal power. Things being contested include the myth of virginity, the power of a father, and social construction of passive women.

Geisha: Resistensi Perempuan Seni Tradisi*

Fitria Pratiwi

Alumnus Jurusan Bahasa dan Sastra Indonesia

Fakultas Bahasa dan Seni, Universitas Negeri Jakarta

fitriapratiwi_pipit@yahoo.com

Abstract

Women and art traditions have a close relation because lots of art tradition use women as a subject to long lived. Named gandrung, ronggeng, tledhek, sintren, and many others art traditions in Indonesia also use women as a subject to long lived. In Japan, this part played by geisha. Women with white face make up, honongi kimono, shimada hair do, silk tabi, and varnished zori keep entertain the guests from high class society with geisha dances or a gentle plucking shamisen. Because of their played as men entertainer, people thought what geisha do is prostitute. From the eyes of Feminist multicultural, we will see what geisha do in society which is drawn by two novels that is Memoirs of a Geisha by Arthur Golden and Kembang Jepun by Remy Sylado. These novels described two geisha in two different places, that is Gion (Japan) and Surabaya (Indonesia) also bargain process and geisha disjunctive against patriarchy system.

Keywords: geisha, art tradition, recistant, feminism multicultural.

Hilang dan Terbuang:Kritik Sastra Pascakolonial

Dua Karya Marco Kartodikromo*

Novi Diah Haryanti

Masiswa Program Magister Susastra

Fakultas Ilmu Budaya Universitas Indonesia

novi.diah@gmail.com

Abstract

This article aim to examine how Marco as the other view of identity that he poured in his work that were classified as “illegal literature” by the Dutch colonial government. The reading of the works of Marco, is expected to describe her figure as a poet, journalist, and pioneer of independence, as well as putting back the prodigal son Marco in the Indonesian literary treasures. Studies conducted on two works of Marco namely: Student Hidjo (2000) and Rasa Merdika (1924). Descriptive method of analysis with postcolonial theory will be used to view and dismantle the global white cultural constructions that carried West to East so it can open our eyes on the permanent effects of colonialism that is still to be felt. One of the effects described Marco is a feeling of inferiority and assume the West is a revered deity. The reading of both novels also show Marco criticism against the colonial government that places the native as the lowest class and issued various policies that make the indigenous (Bumiputera), a coolie in his own country.

Pandangan Maut Motinggo Busye

Puji Santosa

Pusat Bahasa, Kementrian Pendidikan Nasional

Jalan Daksinapati Barat IV, Rawamangun, Jakarta Timur 13220

puji.santosa@gmail.com

Abstract

As the other authors who have written hundreds of works of literature, Motinggo Busye has deep and wide indside of vision du monde or world view which he uses to solve problems of life he encounteres. This life problems are coming either from his own life or from others’. Motinggo Busye’s world view reflected in his works shows his response to the basic problems of life. One of his world views is the view of death. To what extent is Motinggo Busye’s view of death reflected in his works of literature?. With regards his view of death, his works especially Malam Jahanam, Sanu Infinita Kembar, Aura Para Aulia, Dua Tengkorak Kepala (compilition of short stories: “Lonceng”, “Dua Tengkorak Kepala”, “Bangku Batu”, “Mata”), and “Merasuk Malam” would be worth scrutinizing. His view of death is supposed to be showed from his response on the natural phenomena and the cultural context he lives in. The depth and width of his insight on death which he writes in some works provides him legitimation and existence for his literature achievement. Death is Motinggo Busye’s biggest obsession in his creative process and a vehicle for him to response on natural phenomena and culture.

The Merciful God In Dowden’s Poem

Henriono Nugroho

Jurusan Sastra Inggris, Fakultas Sastra, Universitas Jember

Jalan Kalimantan 37 Jember 68121

h-nugroho@hotmail.com

Abstract

This article concerns with a stylistic analysis on a poem in terms of Systemic Functional Linguistics and Verbal Art Semiotics. The writing uses library research, qualitative data, documentary study, descriptive method and intrinsic-objective approach. The semantic analysis results in both automatized and foregrounded meanings. Then the automatized meaning produces lexical cohesion and in turn, it produces subject matter. Meanwhile, the foregrounded meaning produces the literary meaning and in turn, it creates theme. Finally, the analysis indicates that the subject matter is about searching for happiness, the literary meaning is about divine blessings, and the theme is about the Merciful God.