Journal articles on the topic 'Indonesian fiction History and criticism'
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Nurhadi, Taufik. "DEKONSTRUKSI KESAKRALAN DUNIA PEWAYANGAN : Sebagai Peninggalan Adiluhung melalui Manyura." Jurnal Budaya Nusantara 1, no. 1 (June 1, 2014): 1–10. http://dx.doi.org/10.36456/b.nusantara.vol1.no1.a12.
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Abstrak
The purpose of this study is to obtain the results of descriptions and explanations on puppet
world deconstruction which is sacred and sublime masterpiece through the creative work of fiction,
Manyura written by Yanusa Nugroho. The results of this literature review based on the approach
prove that deconstruction in Manyura produce: (1) the lawsuit against submission of puppet
history, (2) the degradation of intensity characterizations, and (3) demoralization figure Yudhishthira.
The three forms of deconstruction express the social criticism to the behavior of Indonesian
politics, especially in the Era of ORBA.
Keywords: deconstruction, puppet, submission, degradation, demoralization.
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Roberts, R. "American Science Fiction and Contemporary Criticism." American Literary History 22, no. 1 (November 20, 2009): 207–17. http://dx.doi.org/10.1093/alh/ajp048.
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Rohman, Saifur. "STORY OF BIG FLOOD IN THE MODERN INDONESIAN LITERARY: AN ECOCRITICISM STUDY." IJLECR - INTERNATIONAL JOURNAL OF LANGUAGE EDUCATION AND CULTURE REVIEW 1, no. 1 (June 1, 2015): 105–12. http://dx.doi.org/10.21009/ijlecr.011.11.
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The nature of paper shows that Ecocriticism is not popular issue in the modern Indonesian criticism. Hence, it is very crucial to develop the Indonesian criticism based on the ecological perspective because nowday that the term development is synonym with exploiting the nature. The paper is to find out the ecological issue in the modern indonesian literary, especially in fiction prose and poems publised for late ten years. To analyze the work, researcher is used semiotic method and hermeneutic design of research as an approach. Semiotic will investigate the symbol behind the words and hermeneutic will translated the symbol to actual message. Based on the analysis, the ecological theme in the modern Indonesian literary is crucial interpretation. The meaning appeared in the work has given the imporant values of increasing care of nature, human kind, and harmonization. For recomentation, in the future researcher should have interpretate the work based on the ecocriticism to increase meaning of human and nature.
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Forsdick, C. "Postcolonial Criticism: History, Theory, and the Work of Fiction." Comparative Literature 58, no. 3 (January 1, 2006): 263–65. http://dx.doi.org/10.1215/-58-3-263.
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Syrotinski, Michael. "Postcolonial Criticism: History, Theory and the Work of Fiction." French Studies 60, no. 3 (July 1, 2006): 418–19. http://dx.doi.org/10.1093/fs/knl067.
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Djenar, Dwi Noverini. "On the development of a colloquial writing style: Examining the language of Indonesian teen literature." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 164, no. 2 (2008): 238–68. http://dx.doi.org/10.1163/22134379-90003658.
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The last few years have seen a boom in the publication of teen fiction in Indonesia. Particularly since the publication of the highly successful novel Eiffel ... I’m in love (Arunita 2001), numerous fiction works targeted at a youthful readership have appeared. This genre of popular literature has been so successful in attracting its audience that it currently constitutes the largest growing market in the Indonesian publishing industry (Simamora 2005). One of its striking characteristics is the predominant use of colloquial Indonesian, an informal variety of Indonesian that is closely identified with speakers from the capital Jakarta, particularly young people. Over a decade ago, scholars noted the increasing use of colloquial Indonesian in popular literature (see for example Adelaar and Prentice 1996:678). The implication is that this language variety has spread into domains previously dominated by standard Indonesian, the formal variety used in government administration, formal education, and most printed mass media. Indeed, contemporary Indonesian written literature is largely associated with standard Indonesian, such that the increasing use of colloquial Indonesian in popular literature has invited much criticism from language gatekeepers. Despite such criticism, however, teen fiction continues to flourish. The increasing use of colloquial Indonesian in teen fiction, though noted by scholars, has not been subject to any detailed linguistic study. Linguistic studies of colloquial Indonesian – at least those published in English – have focused so far on its use in speech, or in written texts intended to resemble speech, such as internet chatting and advice columns for young people. Prior to the recent surge in teen fiction, use of colloquial Indonesian in contemporary written literature was largely limited to dialogues. Writers such as Putu Wijaya, for example, are known to incorporate colloquialism to render dialogues more natural (Rafferty 1990:107). Teen fiction writers have extended the use of colloquialism into other parts of fiction such as the description of characters, settings, and inner thoughts. This development makes it interesting to look for a way to describe the increase of colloquialism. A useful approach is to examine the usage patterns of a term or a selection of terms in a number of teen fiction works published over time, with the purpose of observing changes in the patterns, and whether such changes can be shown to represent greater colloquialism. This study is a preliminary attempt in that direction. My purpose here is to demonstrate that in the last two decades during which colloquial Indonesian has been employed in teen fiction, there has been a shift in writing style from one that bears greater resemblance to standard Indonesian towards a style that is more colloquial. The term ‘style’ is commonly employed in sociolinguistics to refer to ways of speaking, which Bell (2001:139) defines in terms of the question ‘Why did the speaker say it this way on this occasion?’ (italics in original). Adapting this definition for teen fiction writing, I use ‘writing style’ here to refer to the characteristic manner in which an author writes fiction. This style is observed here by examining the use of the preposition pada ‘to, towards, on, in, at’ as compared to the use of three other prepositions, namely kepada ‘to, towards’, ke ‘to, towards’, and sama ‘to, towards, by, with’. The development towards increased colloquialism is shown through two indicators: a reduction in the range of prepositional meanings of pada along with the assignment of particular discourse functions to kepada, and an increased use of ke and sama. The data are drawn from ten works of fiction published between 1998 and 2005. Eight of these are written by the same author, Hilman. In four of them, Hilman collaborates with fellow writer Boim Lebon. The other two works are by Laire Siwi Mentari and Marthino Andries. This selection is motivated by the following considerations. Hilman’s works have been highly and consistently popular since his first publication appeared in 1986. They span two decades and therefore provide an appropriate time span for examining shifts in writing style. Laire Siwi Mentari and Marthino Andries are also successful writers; their first novels were published in 2004, followed by their second novels in 2005. This study makes use of their second novels.
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Zimra, Clarisse. "Postcolonial Criticism: History, Theory and the Work of Fiction (review)." MFS Modern Fiction Studies 50, no. 3 (2004): 798–99. http://dx.doi.org/10.1353/mfs.2004.0093.
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Van Dongen, Richard. "Non-fiction, History, and Literary Criticism in the Fifth Grade." Children's Literature Association Quarterly 12, no. 4 (1987): 189–90. http://dx.doi.org/10.1353/chq.0.0343.
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Yngvesson, Dag. "KULDESAKAND THE INEXORABLE PULP FICTION OF INDONESIAN FILM HISTORY." Indonesia and the Malay World 43, no. 127 (September 2, 2015): 345–77. http://dx.doi.org/10.1080/13639811.2015.1046756.
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Santosa, Puji. "KONDISI KRITIK SASTRA INDONESIA SEABAD H.B. JASSIN (Indonesia Literary Criticism in A Century of H. B. Jassin)." Kandai 13, no. 1 (August 24, 2017): 91. http://dx.doi.org/10.26499/jk.v13i1.94.
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This study aims to reveal and to describe the condition of Indonesian literary criticismin a century of H.B. Jassin (1917-2017). The research problem is how the condition of Indonesian literary criticism in a century of H.B. Jassin? The method used is the historical and descriptive method. The research proves that the condition of Indonesian literary criticism in a century of H.B. Jassin progressing quite encouraging on four genres of literary criticism, namely: (1)general literary criticism or practical literary criticism developed in printed media and electronic, (2) history of academic literary that thrives in academic research focusing on philology, (3) literature appreciation and interpretation that developes in the academic and scientific journal of literature, and (4) literary theory that developes in academic world as a basic reference for writing literature scientific papers. From these results it can be concluded that the condition of Indonesian literary criticism in a century of H.B. Jassin has never been stagnant or vacuum.
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Green, Alison. "‘A Supreme Fiction’: Michael Fried and Art Criticism." Journal of Visual Culture 16, no. 1 (April 2017): 89–102. http://dx.doi.org/10.1177/1470412917700931.
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One of the striking aspects of the trenchant legacy of Michael Fried’s ‘Art and Objecthood’ is its status as a piece of art criticism. Widely perceived as difficult and personal, philosophical and explicatory, doxa or sermon, the essay stands out. To explore its singularity, this article compares Fried’s conception of the period criticism of 18th-century French painting in his book Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980) and the method of criticism enacted in ‘Art and Objecthood’ (1967) which he saw as connected. The author pursues this and other crossings between Fried’s art historical writings and art criticism, tracking it to an extended endnote in Fried’s Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (2002). ‘Art and Objecthood’ is a key essay in this story aimed at Fried’s thinking about criticism, its history, theory and practice. Doing this matters because it puts the critic in a particular relation to art and to Fried’s idea of an ‘ontologically prior relationship between painting and the beholder’.
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MacKenzie, Robin. "Approaches to Teaching Proust's Fiction and Criticism." French Studies 59, no. 4 (October 1, 2005): 567–68. http://dx.doi.org/10.1093/fs/kni242.
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Frolova, M. V. "Pulp Fiction: Indonesian detective from 1950–1960s’." Orientalistica 5, no. 5 (December 25, 2022): 1239–60. http://dx.doi.org/10.31696/2618-7043-2022-5-5-1239-1260.
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The article offers a detailed analysis and comparison of four works of popular Indonesian literature (two texts dd 1955 and two dd 1967) in order to trace the vectors of development of the detective genre in the Indonesian literature. The analysis precedes an excursion into the history of criminal genres in the literature of Indonesia. The study shows that, using the selected texts as an example, there is a certain difference between the detective-type literature before the political changes and the transition to the New Order (1965), and afterwards, also allows us to take another step towards the study of the detective genre in Indonesian literature.
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O’Malley, Maria. "Taking the Domestic View in Hawthorne’s Fiction." New England Quarterly 88, no. 4 (December 2015): 657–80. http://dx.doi.org/10.1162/tneq_a_00494.
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Shifting the emphasis within feminist criticism from the act of speech to the act of hearing, this article argues that, in The Scarlet Letter, The House of the Seven Gables, and Blithedale Romance, Nathaniel Hawthorne reveals how the public sphere depends on the voices of dispossessed women even as it attempts to silence them.
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Burger, Willie. "Historiese korrektheid en historiese fiksie: ’n respons." Tydskrif vir Letterkunde 52, no. 2 (February 17, 2015): 78. http://dx.doi.org/10.4314/tvl.v52i2.6.
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Historical correctness and historical fiction: a responseIn this article the relationship between history and fiction is examined in response to the historian, Fransjohan Pretorius’s criticism of recent Afrikaans fiction about the Anglo-Boer War in Tydskrif vir Letterkunde 52.2 (2015). The intricate relationship between history and fiction is examined by pointing, on the one hand to the problematic of the relationship between history and the past and on the one hand, to the difference between fiction and history. The function of aesthetic illusion, verisimilitude and conceptions of reference is investigated theoretically before turning to the specific novels that Pretorius discusses. The article shows that historical fiction cannot be restricted to novelized versions of accepted history, but that historical fiction also reminds the reader that the past is always culturally mediated and that the primary aim of novels is not to represent the past but to examine aspects of human existence. A comparison between fiction and history can therefore not be used as a norm to assess novels.
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Azizah, Imamah Fikriyati, Dwi Susanto, and Istadiyantha Istadiyantha. "The Existence of Universal Humanism in The Reform Era of Indonesian Literary Criticism." International Journal of Multicultural and Multireligious Understanding 7, no. 11 (July 20, 2021): 580. http://dx.doi.org/10.18415/ijmmu.v7i11.2797.
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The aesthetic of universal humanism is a cultural production of power struggles in the arena of Indonesian literary criticism. The agent who played an important role in achieving universal humanism was the Cultural Manifest (Manikebu), which extended into the Jakarta Arts Council (JAC). This study highlights the reality of literary criticism in the reform era, without undermining the aesthetic history of universal humanism as a medium or discourse echoed by the Cultural Manifest group and succeeded after the collapse of the Old Order. JAC as an agent currently controls the arena of Indonesian literary criticism seeking to cultivate economic, social, cultural, and symbolic capital. These capitals are used as a tool in carrying out the practice of symbolic violence in the arena of literary criticism. This then it establishes a habitus which aimed at enacting the aesthetic standards of universal humanism literary criticism. The habitus space is seen through the contest and literary criticism class conducted by JAC. The contest initiates enactment on parties involved, both the contestant jury and/or supporters of JAC's literary criticism class, as well as participants who take part in the literary criticism contest.
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Zhang, Zhehui. "A Post-Colonial Approach to The Man Who Ended History: A Documentary." English Language and Literature Studies 10, no. 2 (April 16, 2020): 53. http://dx.doi.org/10.5539/ells.v10n2p53.
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The Man Who Ended History: A Documentary is a science fiction by Chinese American science fiction writer Ken Liu (1976-). Based on the theory of Post-Colonial Criticism, this paper makes a concrete analysis of the text from the perspectives of three eminent contemporary theorists, aiming at the readers’ better understanding of the work, and eliminating ethnocentrism, racism, unilateralism and hegemony; keeping history in mind and justifying the names of innocent humans who have been persecuted; safeguarding world peace, and building a community with a shared future for mankind.
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Frolova, Marina V. "Indonesian Horror Story by Intan Paramaditha." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 3 (2020): 368–79. http://dx.doi.org/10.21638/spbu13.2020.304.
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Analysis and interpretation of the short stories by Indonesian female writer Intan Paramaditha (Intan Paramaditha, born in 1979) make it possible to understand that her writing occupies a special niche in the modern Indonesian literary paradigm. Paramaditha’s feminist texts are disguised as horror stories with settings in contemporary Indonesia. The article examines five short stories (“Spinner of Darkness” (Pemintal Kegelapan), “Vampire” (Vampir), “Polaroid’s Mystery” (Misteri Polaroid), “The Blind Woman without a Toe” (Perempuan Buta tanpa Ibu Jari), and “The Obsessive Twist” (Goyang Penasaran)). Using the intertextual method, it was possible to prove the gothic poetics of these literary works. The short stories contain the mosaic of folklore-mythological motives from the Malay Archipelago, Biblical and Quranic narratives, as well as European fairy tales and allusions to American horror fiction and horror films. Her prose is built upon some borrowed European literary forms for expression of authentic Indonesian content. The social themes are intertwined with feminist criticism that is presented as a Kitsch of the Indonesian mass culture. In “The Obsessive Twist” the main conflict is focused on the heated debates on sexuality, politics, violence, and religion. The feminist agenda of her prose is contrasted with the turn of contemporary Indonesia towards a Muslim patriarchal society. Paramaditha’s works represent a unique product of West-East-synthesis aimed not only at the Indonesian, but also the global audience.
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Ge, Liangyan. "The Mythic Stone inHonglou mengand an Intertext of Ming-Qing Fiction Criticism." Journal of Asian Studies 61, no. 1 (February 2002): 57–82. http://dx.doi.org/10.2307/2700189.
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Until very recently, much of the literary scholarship on the eighteenth-century Chinese novelHonglou meng(The Story of the StoneorDream of the Red Chamber) was centered on what was seen as the autobiographical nature of the work. Critics of the novel, especially those in China, tended to focus their attention on the life of the author, Cao Xueqin (d. 1763), believing the interpretation of the novel to be—to a large extent—hinged on a successful reconstruction of Cao Xueqin's familial relationships, especially with those members of the Cao clan such as Red Inkstone (Zhiyanzhai) who were the original audience of his manuscript. Yet, any literary work—even a truly autobiographical one—arises from its tradition. Its meaning will be better understood and its aesthetic values better appreciated when we consider it in relation to other works in that tradition. For our interpretation ofHonglou meng, what is more pertinent is therefore not the author's personal ties tohisrelatives but the ties of the novel toits“relatives,” works that formed the literary context for its creation.
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Toer, Pramoedya Ananta, and Christopher Lloyd GoGwilt. "Pramoedya's Fiction and History: An Interview with Indonesian Novelist Pramoedya Ananta Toer." Yale Journal of Criticism 9, no. 1 (1996): 147–64. http://dx.doi.org/10.1353/yale.1996.0005.
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Kambon, Ọbádélé Bakari, and Lwanga Songsore. "Fiction vs. Evidence: A Critical Review of Ataa Ayi Kwei Armah’s Wat Nt Shemsw and the Eurasian Rhetorical Ethic." African and Asian Studies 20, no. 1-2 (April 27, 2021): 124–53. http://dx.doi.org/10.1163/15692108-12341486.
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Abstract At the 2018 Outstanding African Thinkers Conference on Nna Chinweizu, attendees – the first author included – took a pledge that “In all branches of our lives, we must be capable of criticizing and of accepting criticism. But criticism, proof of the willingness of others to help us or of our willingness to help others, must be complemented by self-criticism – proof of our own willingness to help ourselves to improve our thoughts and our actions. This is a sacred principle and it is my sacred duty to apply and defend it at all costs” (Chinweizu 2018). In response to that call to action, this article represents an effort to restore MꜢꜤt ‘Maat.’ Ataa Ayi Kwei Armah’s Wat Nt Shemsw: The Way of Companions epitomizes undeclared fiction masquerading as an accurate reflection of the mythology of classical Kmt ‘Land of Black People.’ By cross-checking Ataa Armah’s undeclared fiction with actual historical, iconographical, and archaeological data, we are able to debunk his numerous misrepresentations. We find that the best way to approach Kmt ‘Land of Black People’ is through direct engagement with actual evidence rather than through the distortions of fiction writers turned Egyptologists. Further, we will address the personality cult, or what we term “Ataa Armah’s Manor Shemsw model,” which embodies the rhetorical ethic whereby all egalitarians are equal, but some egalitarians are more equal than others (Orwell, Baker, and Woodhouse 1996).
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Drozdova, Daria N. "Francis Bacon, Between Myth and History." Epistemology & Philosophy of Science 58, no. 3 (2021): 6–21. http://dx.doi.org/10.5840/eps202158339.
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Over the last 400 years, attitudes toward Francis Bacon's philosophy have changed considerably: the 17-century interest and the 18-century enthusiasm have been replaced by the 20-century criticism and reevaluation. However, both the praise and the rejection of the Lord Chancellor’s philosophical ideas often originate from the isolation and absolutization of particular features of his philosophy that can sometimes be in opposition to each other. These partial readings are justified by the fact that the reference to Bacon’s methodological and epistemological legacy has a symbolic meaning and is part of what is called “image of science” in Y. Elkana’s terminology. The way in which references to Bacon are used at different times and in different contexts is, in fact, a functional myth or theoretical fiction (I. Kasavin) in which the “historical Bacon” is fading away and what emerges is important and meaningful to those who declare themselves his followers or who lash out at him with criticism.
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Collinge, James T. "‘With envious eyes’: Rabbit-poaching and class conflict in H. G. Wells’s The Time Machine and The Island of Doctor Moreau." Literature & History 26, no. 1 (May 2017): 39–55. http://dx.doi.org/10.1177/0306197317695082.
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Allusions to rabbits and poaching recur throughout H. G. Wells's work. In spite of the frequency with which they appear, these motifs remain overlooked within scholarly criticism. This article, by analysing Wells's representations of rabbit-poaching, first considers how nineteenth-century histories of industrialisation and game-crime shape his science fiction. It then explores the contradictory nature of these representations, which both demonise and sympathise with the figure of the rabbit-poacher, providing further insight into the class confusion that recent criticism perceives to characterise Wells's writing in this period.
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Penier, Izabella. "Modernity, (Post)modernism and New Horizons of Postcolonial Studies. The Role and Direction of Caribbean Writing and Criticism in the Twenty-first Century." International Studies. Interdisciplinary Political and Cultural Journal 14, no. 1 (November 1, 2012): 23–38. http://dx.doi.org/10.2478/v10223-012-0052-2.
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My article will take issue with some of the scholarship on current and prospective configurations of the Caribbean and, in more general terms, postcolonial literary criticism. It will give an account of the turn-of-the century debates about literary value and critical practice and analyze how contemporary fiction by Caribbean female writers responds to the socioeconomic reality that came into being with the rise of globalization and neo-liberalism. I will use David Scott’s thought provoking study-Refashioning Futures: Criticism after Postcoloniality (1999)-to outline the history of the Caribbean literary discourse and to try to rethink the strategic goals of postcolonial criticism.
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Retnowati, Retnowati, Endang Ernawati, and Akun Akun. "Ecocriticism Values In The Indonesian Folktale Timun Emas (Golden Cucumber)." Humaniora 9, no. 2 (July 31, 2018): 221. http://dx.doi.org/10.21512/humaniora.v9i2.4331.
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The article presented how to learn an Indonesian folktale entitled Timun Emas which related to the process of the environment. The elements of fiction in this folktale, the setting, was a clue in relating the nature and the human which was part of eco-criticism. This research presented the earth-centered approach to literary studies to see how nature was represented in this folktale, what role of the physical setting played in the plot, the values expressed in this folktale, how metaphor of the land influenced the way human treated it, how the concept of wilderness had changed over time, in what way literacy itself had affected humankind relationship to the natural world. It also analyzed the interconnections between culture and nature, specifically the cultural artifacts oflanguage and literature, understanding the ethical system and use it to reform them. This research used a qualitative method which was based on library research. The theory of Glotfelty then was combined with Anthropocentrism to see the human as the center of the hemisphere and how they determine the ecosystem and the policy related to nature. It is concluded that Timun Mas is able to represent the Indonesian culture, human and nature relationship, as well as culture and nature relationship drawn from the values and belief in the folklore.
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Santyaputri, Lala, Olivia Nursalim, and Catherine Karenina. "Eksplorasi Visual Naratif Indonesia-Tionghoa dalam Film Karya Mahasiswa." DESKOMVIS: Jurnal Ilmiah Desain Komunikasi Visual, Seni Rupa dan Media 1, no. 1 (March 9, 2020): 46–55. http://dx.doi.org/10.38010/dkv.v1i1.6.
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Indonesian-Chinese in Indonesian films rarely become the main subject of the narrative and even still marginalized. Marginalization in Indonesian-Chinese looks back at the Indonesian history, which doesn’t provide the similar space as other Indonesian citizens. The development of Indonesian films now gives new space to new filmmakers, especially those academicaly speaking graduated from film schools. Narative and visual analysis was carried out on two works on Indonesian-Chinese by using a narrative research methodology with a qualitative approach. Stages of research conducted by the director will be the starting point in this research, especially in studying history. The research objects of these studies taken the biopic documentary "Lebih Cina dari Tionghoa" (2019), and the fiction genre film "Bulikan"(2019). These two films represent present-day and Indonesian-Chinese representations. This research is a study of representation on the visualization and narration of film by young generation.
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Emma Liggins. "Victorian Sensation Fiction: A Reader's Guide to Essential Criticism (review)." Victorian Periodicals Review 43, no. 1 (2010): 83–84. http://dx.doi.org/10.1353/vpr.0.0110.
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Lähteenmäki, Ilkka. "Possible Worlds of History." Journal of the Philosophy of History 12, no. 1 (March 22, 2018): 164–82. http://dx.doi.org/10.1163/18722636-12341354.
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Abstract The theory of possible worlds has been minimally employed in the field of theory and philosophy of history, even though it has found a place as a tool in other areas of philosophy. Discussion has mostly focused on arguments concerning counterfactual history’s status as either useful or harmful. The theory of possible worlds can, however be used also to analyze historical writing. The concept of textual possible worlds offers an interesting framework to work with for analyzing a historical text’s characteristics and features. However, one of the challenges is that the literary theory’s notion of possible worlds is that they are metaphorical in nature. This in itself is not problematic but while discussing about history, which arguably deals with the real world, the terminology can become muddled. The latest attempt to combine the literary and philosophical notions of possible worlds and apply it to historiography came from Lubomír Doležel in his Possible Worlds of Fiction and History: The Postmodern Stage (2010). I offer some criticism to his usage of possible worlds to separate history and fiction, and argue that when historiography is under discussion a more philosophical notion of possible worlds should be prioritized over the metaphorical interpretation of possible worlds.
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Allen, Pamela. "Menggarami burung terbang: Local understandings of national history." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 167, no. 1 (2011): 1–15. http://dx.doi.org/10.1163/22134379-90003599.
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This paper focuses on the ways in which watershed events in Indonesian national history are illuminated in a work of fiction, and how a Javanese worldview gives rise to particular, localized understandings of the events. The work of fiction is Sitok Srengenge's first novel, Menggarami burung terbang (Seasoning the flying bird), the action of which is bracketed by the years 1948 and 1965. The protagonists of the novel are unassuming village folk who are bewildered at the political events and mass brutality that overtake them, and whose understanding of the world is filtered through natural omens. Such a worldview is described by Quinn (1992:124) as a 'teleological' view of phenomena, in other words a belief that everything that exists and happens - including natural omens - does so for a final purpose, that there is a reason for everything.
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Heise-von der Lippe, Anya. "Histories of Futures Past: Dystopian Fiction and the Historical Impulse." Zeitschrift für Anglistik und Amerikanistik 66, no. 4 (December 19, 2018): 411–25. http://dx.doi.org/10.1515/zaa-2018-0035.
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Abstract This article traces the historical impulse in two intertextually connected dystopian texts – George Orwell’s 1984 (1949) and Margaret Atwood’s The Handmaid’s Tale (1985) – by reading the two novels in the context of the construction of historical narrative after the proclaimed ‘end of history’ in the twentieth century. It considers their representation of history within the framework of literary criticism of the historical novel (György Lukács), critical dystopias (Tom Moylan), and memory as an active, mediated engagement with the past (Astrid Erll and Ann Rigney). It looks, more specifically, at how the texts contrast personal experience and the meta-narrative contemplation of memory with institutionalized versions of history on different diegetic levels by juxtaposing the narrators’/focalizers’ view of history with that presented in the framework of pseudo-historical appendices that accompany and significantly modify the interpretations of both narratives.
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So, Richard Jean, and Edwin Roland. "Race and Distant Reading." PMLA/Publications of the Modern Language Association of America 135, no. 1 (January 2020): 59–73. http://dx.doi.org/10.1632/pmla.2020.135.1.59.
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This essay brings together two methods of cultural‐literary analysis that have yet to be fully integrated: distant reading and the critique of race and racial difference. It constructs a reflexive and critical version of distant reading—one attuned to the arguments and methods of critical race studies—while still providing data‐driven insights useful to the writing of literary history and criticism, especially to the history and criticism of postwar African American fiction, in particular James Baldwin's Giovanni's Room. Because race is socially constructed, it poses unique challenges for a computational analysis of race and writing. Any version of distant reading that addresses race will require a dialectical approach. (RJS and ER)
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ROLLS, ALISTAIR. "Primates in Paris and Edgar Allan Poe’s Paradoxical Commitment to Foreign Languages." Australian Journal of French Studies 58, no. 1 (April 1, 2021): 76–87. http://dx.doi.org/10.3828/ajfs.2021.07.
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Drawing on recent innovations in detective criticism in France, this article broadens the quest to exonerate Poe’s famous orang-utan and argues that the Urtext of modern Anglo-American crime fiction is simultaneously a rejection of linguistic dominance (of English in this case) and an apologia for modern languages. This promotion of linguistic diversity goes hand in hand with the wilful non-self-coincidence of Poe’s detection narrative, which recalls, and pre-empts, the who’s-strangling-whom? paradox of deconstructionist criticism. Although “The Murders in the Rue Morgue” is prescient, founding modern crime fiction for future generations, it is entwined with a nineteenth-century tradition of sculpture that not only poses men fighting with animals but also inverts classical scenarios, thereby questioning the binary of savagery versus civilization and investing animals with the strength to kill humans while also positing them as the victims of human violence.
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Richards, Christine. "Gender, Race and the ‘Art’ of Fiction: Henry James's Criticism and Harriet Beecher Stowe." Literature & History 9, no. 1 (May 2000): 43–55. http://dx.doi.org/10.7227/lh.9.1.3.
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Enslen, Joshua Alma. "Between diplomacy and letters: a sketch of Manuel de Oliveira Lima's search for a Brazilian identity." História (São Paulo) 24, no. 2 (2005): 243–59. http://dx.doi.org/10.1590/s0101-90742005000200010.
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Manuel de Oliveira Lima as an important diplomat of the First Republic in Brazil reflects on an individual, national, and universal plane the convergence of politics and literature. His writing demonstrates an explicit attempt to construct a national identity that emanates not only between literature and diplomacy, but also between the personal and the historical, as well as, the foreign and the national. This paper analyzes brief examples of his criticism, personal correspondence, and fiction that demonstrate the convergence of these fields.
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Hayot, Eric. "Literary History after Literary Dominance." Modern Language Quarterly 80, no. 4 (December 1, 2019): 479–94. http://dx.doi.org/10.1215/00267929-7777832.
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Abstract The various pronouncements of the nation’s dissolution seem to have been premature. Literary history is still very much within the nation, especially if one considers the realm of the middle- and lowbrow, or indeed the vast swaths of genre fiction. What has changed in literary history is the position of literature itself. The discipline of literary study (whether one thinks of it as literary history or literary criticism) institutionalized itself during a period of literary dominance. Now that that dominance is over—now that the field of narrative aesthetic culture includes television, film, and video games, and now that those genres dominate not only markets but the forms of representativity that used to belong almost exclusively to literature—what is the future for literary studies, either as a scholarly discipline or as an institutional field?
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Кирчанов, Максим Валерьевич. "The history of Islam in Indonesian politics of memory." Journal of the Belarusian State University. History, no. 3 (August 8, 2022): 82–92. http://dx.doi.org/10.33581/2520-6338-2022-3-82-92.
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The article analyses the perception of the history of the Muslim community in the modern Indonesian politics of memory. For the first time in Belarusian historiography, the features of the historical politics or the politics of memory in modern Indonesia are considered. The novelty of the article lies in the integration of Indonesian issues into the contexts of modern interdisciplinary memorial studies. The key subjects of the politics of memory in Indonesia are determined in contexts of the revision of the history of political Islam in the second half of the 20th century. The activity of the media is considered as the main form of the revision of history, criticism of old historical narratives and the formation of a new memorial canon of the history of Indonesian Islam. Attempts to revise the history of Islam are analysed, including new interpretations of Muslim activists, who impact participated in the national movement. The author analyses the contradictions of historical politics in the context of integration of the history of Indonesian political Islam of the 20th century into the secular memorial canon. It is assumed that attempts to construct the history of political Islam in the modern collective Indonesian memory have a compromise character. The author shows how intellectuals assimilate the history of Islam, integrating it into the current memorial canon. It is noted that within the framework of the politics of memory, ideologically and politically controversial points related to the history of radical political Islam, which in the early model of national memory were marginalised and forgotten. Modern manipulations with historical memory are analysed as attempts to achieve a memorial compromise between secular intellectuals and representatives of the Muslim community.
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Hendrarti, Ignatia Maria. "Rape or Seduction?" Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 1, no. 1 (November 19, 2017): 31–43. http://dx.doi.org/10.14710/culturalistics.v1i1.1686.
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AbstractThis paper deals with the description of many kinds depictions of rape in Indonesian women popular fiction. First, the problematic interpretation of rape shows that many people, especially those working in legal institution, have spesific male interpretation of rape. Some feminists expose that rape, as defined in legal context, fail to determine whether a sexual affair is rape or not. The difficulty also lies in who is in a position to interpret the meaning of such sexual affair. In other words, the notion of who is looking at the case is very crucial. The 'truth' about rape depends on who interprets the situation. In the context of literary depiction of rape, the analysis shows that many women writers are reluctant to give clear picture of rape. Therefore, many “rape” incidents will tend to be interpreted as just a common sexual affair.Keywords:Feminist Criticism, popular literature, politics
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Huttar, Charles A. "The Screwtape Letters as Epistolary Fiction." Journal of Inklings Studies 6, no. 1 (April 2016): 87–125. http://dx.doi.org/10.3366/ink.2016.6.1.5.
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Epistolary fiction, often thought of as an eighteenth-century phenomenon, enjoys considerable vitality in our time and has attracted much welcome critical attention in recent years. The focus, however, has been on selected aspects of the epistolary tradition, to the neglect of others that are part of its rich history. At the same time, discussions of C. S. Lewis's The Screwtape Letters (1942) have generally concentrated on its theological, moral, and satirical aspects, with little consideration of the generic identification declared in the book's title. Attention to its striking affiliations with the epistolary tradition in fiction sheds light on Lewis's artistry in the work, on current critical discourse concerning epistolarity, on Lewis's social and cultural criticism, and on his contributions to critical theory. In the present study, selected aspects of the nineteenth- and early-twentieth-century epistolary tradition are briefly surveyed; then, matters of setting, plot, characterization (especially), and handling of viewpoint in The Screwtape Letters are considered, as well as its widespread debts to the literary heritage and its relationship to Lewis's own contributions as a literary scholar and critic. Attention is given to the implications of Lewis's original preface which has recently been discovered.
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Lau, David. "Drastic Measures in Los Angeles." Boom 3, no. 2 (2013): 82–86. http://dx.doi.org/10.1525/boom.2013.3.2.82.
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This essay is a review of two recent books of criticism: Bill Mohr's account of the Los Angeles poetry scene and Ignacio Lopez-Calvo's account of recent film and fiction set in Latino L.A. The essay argues for a conception of L.A. rooted in understanding the political and economic history of the city, and concludes with some speculation on the future of cultural production in the southern California region.
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Santamarina, Xiomara. "Fugitive Slave, Fugitive Novelist: The Narrative of James Williams (1838)." American Literary History 31, no. 1 (January 1, 2019): 24–46. http://dx.doi.org/10.1093/alh/ajy051.
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AbstractThis essay argues for reading a discredited slave narrative—the Narrative of James Williams (1838)—as an early black novel. Reading this narrative as a founding black novel à la Robinson Crusoe complicates the genealogy and theoretical parameters of literary criticism about early US black fiction. Such a reading revises accounts about the emergence of the third-person fictive voice inaugurated by Frederick Douglass and William Wells Brown in the 1850s. It also offers a new understanding of the antislavery movement’s quest for authenticity. More importantly, reading NJW as novelistic fiction illustrates how a fugitive slave might narrativize muddied textual politics and effectively challenge the reparative vision with which we theorize the genres and politics of early African American literary texts.
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HAMZA REGUIG MOURO, Wassila. "From Feminization of Fiction to Feminine Metafiction in Gaskell’s Wives and Daughters and Woolf’s Orlando." Arab World English Journal For Translation and Literary Studies 4, no. 4 (October 15, 2020): 187–201. http://dx.doi.org/10.24093/awejtls/vol4no4.13.
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Feminism developed and widened its scope to different disciplines such as literature, history, and sociology. It is associated with various other schools and theories like Marxism and poststructuralism, as well. In the field of literature, feminist literary criticism managed to throw away the dust that cumulated on women’s writing and succeeded in raising interest in those forgotten female artists. Some critics in the field of feminism claim that there are no separate spheres, masculine and feminine, whereas others have opted for post-feminist thinking. Some women writers used metafiction to write literary criticism. Therefore, how do Gaskell and Woolf implement metafiction in their stories? Accordingly, this work aims at shedding light on Wives and Daughters by Gaskell and Orlando by Woolf to tackle metafiction from a feminist perspective. Examples from both novels about intertextuality, narration, and other aspects, that are part of metafiction, will be provided to illustrate how and where metafiction is used.
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Gildea, Niall, and David Wylot. "The And of Modernism: On New Periodizations." Modernist Cultures 14, no. 4 (November 2019): 446–68. http://dx.doi.org/10.3366/mod.2019.0267.
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The study of literary modernism is in the ascendant in the academy. From alternate modernisms, to neomodernisms, to metamodernism and global modernisms, modernism scholarship has evolved through a configuration of modernism into a cross-cultural and inter-generational aesthetic practice. This article critically examines the periodizing logic implicit in this new modernism scholarship, specifically as it pertains to the study of what is loosely called ‘neomodernism’, which we suggest presents a notable development in literary history for accounts of contemporary fiction and postmodern culture. We are principally interested in a recent trend we observe in modernism literary criticism concerning the futurization of the object (literary modernism), and of critical work thereupon. This work, which specifically addresses developments in contemporary Western Anglophone literature, seeks to extend the project of modernism (sometimes called its ‘promise’) into the present, understanding it as the principal agency in literary distinction and merit. We examine this criticism through a series of case studies, and discern three interconnecting strands in neomodernist criticism – three ways of futurizing modernism, and of self-futurizing modernism criticism.
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Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Jurnal POETIKA 5, no. 1 (July 31, 2017): 37. http://dx.doi.org/10.22146/poetika.25810.
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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
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Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Poetika 5, no. 1 (July 31, 2017): 36. http://dx.doi.org/10.22146/poetika.v5i1.25810.
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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
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Pezzotti, Barbara. "“I am Just a Policeman”: The Case of Carlo Lucarelli’s and Maurizio de Giovanni’s Historical Crime Novels Set during Fascism." Quaderni d'italianistica 37, no. 1 (June 9, 2017): 89–106. http://dx.doi.org/10.33137/q.i..v37i1.28280.
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This article analyzes two successful Italian novels set during the Ventennio and the Second World War, namely Carlo Lucarelli’s Carta bianca (1990) and Maurizio De Giovanni’s Per mano mia (2011). It shows how Lucarelli confronts the troubling adherence to Fascism through a novel in which investigations are continually hampered by overpowering political forces. By contrast, in spite of expressing an anti-Fascist view, De Giovanni’s novel ends up providing a sanitized version of the Ventennio that allows the protagonist to fulfil his role as a policeman without outward contradictions. By mixing crime fiction and history, Lucarelli intervenes in the revisionist debate of the 1980s and 1990s by attacking the new mythology of the innocent Fascist. Twenty years later, following years of Berlusconi’s propaganda, De Giovanni waters down the hybridization of crime fiction and history with the insertion of romance and the supernatural in order to provide entertaining stories and attract a large audience. In the final analysis, from being functional to political and social criticism in Lucarelli’s series, the fruitful hybridization of crime fiction and history has turned into a mirror of the political and historical de-awareness of Italian society of the 2000s in De Giovanni’s series.
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Mukafi, Muhammad Hamdan. "Indonesian Literature and Its Identity in the Mood of the Age." Digital Press Social Sciences and Humanities 2 (2019): 00014. http://dx.doi.org/10.29037/digitalpress.42265.
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Globalization era is marked by information and technology advancement. It brings jungle of sign, obscuring definitive convention, or even creating a new definition, which is occurred in Indonesian literature. Colonialism history is a center convention which defines Indonesian literature, the literary genre is one of it. Reflecting a case of colonialism; England with its literary genre convention, that are a poem, fiction, and drama – are getting “resistance” from America, the continent that “occupied” by it, which had been opening free space to establish literary genres, such as sermon and speech are included. Therefore, in this case, innovation to Indonesian literary definition always a chance. Cross-media literature, in a blanket of information and technology advancement, had been born with hybridizing text, audio, and visual. Internet medium such as YouTube being its publication method. In 2011, Fahd Djibran and his colleagues gave birth to literary work named revolvere project – when the creation of audio-visual no longer arranged, but parting to literature. The born of revolvere project followed by many artists who answered to the mood of the age. Many new names come up like visual-poetry, visual-fiction, and more – putting them in one room known as Literary Reformer. It has its structure, interpreted in hybridative form, but opening to be studied in a different way when separated. This lead to a question of its legitimation in Indonesian literary world. So, Jane Stokes genre theory chose to examine its worthiness as Indonesian literature’s new creation room in genre classification. In this research, the theory of semiotics, the field of cultural production, and basic of taxonomy are implemented to observe its position to classify and struggle scheme in Indonesian literary world. Then, literary reformer denoted as Indonesian literature reflection, a success of mixing arts spices in one chalice, creating Indonesian literature new definitive identity.
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Rabkin, Eric S., James B. Mitchell, and Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (October 2005): 45–72. http://dx.doi.org/10.1017/s0361233300001976.
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Treating science fiction, critics have taught us to understand that the field shrugged itself out of the swamp of its pulp origins in two great evolutionary metamorphoses, each associated with a uniquely visionary magazine editor: Hugo Gernsback and John W. Campbell Jr. Paul Carter, to cite one critic among many, makes a case that Hugo Gernsback's magazines were the first to suggest thatscience fiction was not only legitimate extrapolation… [but] might even become a positive incentive to discovery, inspiring some engineer or inventor to develop in the laboratory an idea he had first read about in one of the stories. (5)Another, critic and author Isaac Asimov, argues that science fiction's fabledGolden Age began in 1938, when John Campbell became editor of Astounding Stories and remolded it, and the whole field, into something closer to his heart's desire. During the Golden Age, he and the magazine he edited so dominated science fiction that to read Astounding was to know the field entire. (Before the Golden Age, xii)Critics arrive at such understandings not only by surveying the field but also — perhaps more importantly — by studying, accepting, modifying, or even occasionally rejecting the work of other critics. This indirect and many-voiced conversation is usually seen as a self-correcting process, an informal yet public peer review. Such interested scrutiny has driven science fiction (SF) criticism to evolve from the letters to the editor and editorials and mimeographed essays of the past to the nuanced literary history of today, just as, this literary history states, those firm-minded editors helped SF literature evolve from the primordial fictions of Edgar Rice Burroughs into the sophisticated constructs of William S. Burroughs.
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Basu, M. "A Matter of Light and Shade: Fiction and Criticism in R. K. Narayan's Malgudi." boundary 2 40, no. 2 (June 1, 2013): 215–38. http://dx.doi.org/10.1215/01903659-2151857.
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Alonso-Breto, Isabel. "Sunil Yapa’s Your Heart is a Muscle the Size of a Fist: Protest, Fiction and the Ethics of Care." American Studies in Scandinavia 51, no. 2 (September 26, 2019): 3–24. http://dx.doi.org/10.22439/asca.v51i2.5970.
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Sunil Yapa’s politically engaged first novel vindicates the massive pacific protests that occurred during five days in Seattle in November-December 1999. These protests were summoned against the World Trade Organization summit. The novel responds to the wish to inscribe in the history of fiction a crucial event which would inspire and inflect the later anti-globalization movement and protests, and which according to some has not yet received the attention it deserves by media or criticism. This article discusses Yapa’s work in the light of the Ethics of Care, and develops an exegesis, which, incorporating elements of Hardt and Negri’s ideas about the Multitude, understands the novel mainly as a reflection of the crucial preoccupation thathumans have for other human beings, and the innate wish to actively take care of the Other and improve his or her life conditions.
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Gaastra, Femme S. "Private Money for Company Trade: The Role of the Bills of Exchange in Financing the Return Cargoes of the VOC." Itinerario 18, no. 1 (March 1994): 65–76. http://dx.doi.org/10.1017/s0165115300022312.
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‘One does not write history with value judgements.’ Van Leur made this remark, countering the ‘Dutch refrain’ sung by Godée Molsbergen, which indicted the corruption of the VOC-servants as a cause of the Company's downfall. Van Leur explained that the standard for a modern officialdom was only created with the Napoleonic state and ‘it was therefore anachronistic to apply this standard to the 18th century’. Criticism of the integrity of the Company servants in this century is a post facto criticism. But if history cannot be written with value judgements, it cannot do without any judgements at all. Van Leur judged ‘the achievements of a Hartingh, a Von Hohendorff, a Mossel, a Van der Parra, and, on the Indonesian side, of a Mangkubumi, a Mas Sahid, a Cakraningrat certainly on par with those of Speelman, a Van Goens, and a Aru Palakka’.