Pub Date : 2019-10-01DOI: 10.29037/digitalpress.43292
Dita Parasayu Citra, Anastasia Pudjitriherwanti
The French conjunction is an invariable French word that serves to link words or propositions. This conjunction consists of seven types, that is: conjunction of time, conjunction of concession, conjunction of goal, conjunction of consequence, conjunction of cause, conjunction of condition, conjunction of comparison. This research speaks only of the conjunctions of the subordinations of the causes. The purpose of this research is to know and describe the form, meaning, and use of conjunctions of subordinations of causes in the French language. According to Grevisse (2008), the form of subordinate conjunctions of causes consists of two, that is: The simple form and conjunctive locution. The meaning of the conjunctions of subordinations of the causes according to Delatour (1991) consists of two, that is: certainty and uncertainty. Grevisse (2008) also says that the use of conjunctions of subordinations of the causes differentiated by the position of conjunctions. The data sources used in this research consist of three parts: French manuals, French literary works, and also the newspaper and online magazines. From the search result, there are 42 data using the form of conjunctive locutions, 36 data using the indicative mode and have a sense of certainty, 33 data can be used either at the beginning of the sentence or in the middle of the sentence. Therefore, we can conclude that conjunctions which are conjunctive locutions, have a sense of certainty and can be used either at the beginning or in the middle of the sentence are the conjunctions most often found in this research.
{"title":"Les conjonctions de subordinations des causes dans la langue française","authors":"Dita Parasayu Citra, Anastasia Pudjitriherwanti","doi":"10.29037/digitalpress.43292","DOIUrl":"https://doi.org/10.29037/digitalpress.43292","url":null,"abstract":"The \u0000French conjunction is an invariable French word that serves to link words or \u0000propositions. This conjunction consists of seven types, that is: conjunction of \u0000time, conjunction of concession, conjunction of goal, conjunction of \u0000consequence, conjunction of cause, conjunction of condition, conjunction of \u0000comparison. This research speaks only of the conjunctions of the subordinations \u0000of the causes. The purpose of this \u0000research is to know and describe the form, meaning, and use of conjunctions of \u0000subordinations of causes in the French language. According to Grevisse (2008), \u0000the form of subordinate conjunctions of causes consists of two, that is: The \u0000simple form and conjunctive locution. The meaning of the conjunctions of \u0000subordinations of the causes according to Delatour (1991) consists of two, that \u0000is: certainty and uncertainty. Grevisse (2008) also says that the use of \u0000conjunctions of subordinations of the causes differentiated by the position of \u0000conjunctions. The data sources used in this research consist of three parts: \u0000French manuals, French literary works, and also the newspaper and online \u0000magazines. From the search result, there are 42 data using the form of \u0000conjunctive locutions, 36 data using the indicative mode and have a sense of \u0000certainty, 33 data can be used either at the beginning of the sentence or in \u0000the middle of the sentence. Therefore, we can conclude that conjunctions which \u0000are conjunctive locutions, have a sense of certainty and can be used either at \u0000the beginning or in the middle of the sentence are the conjunctions most often \u0000found in this research.","PeriodicalId":270635,"journal":{"name":"Digital Press Social Sciences and Humanities","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129086672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-24DOI: 10.29037/digitalpress.42264
Muhammad Fithratullah
The absence of borders increases the consciousness on the larger access which creates global dependency in many ways such as trades, traveling, tourism, and culture information and creates borderless countries. Lyman (2000) explains that the movement and the influence of globalization are triggered by many factors such as the economic expansion in the form of massive industrialization and the development of science, technology, and communication. The beauty of globalization is the ability to force people to be creative and innovative in creating something beneficial. Culture are wrapped and formed then exposed, which later called as “exporting culture” or in the more popular form, it is called as commodification. The boom of Korean popular culture in all over Asian countries has increased starting in 2000 it moves forward to rule all over Asia (Hyejung: 2007). The rise of Korean Popular culture through globalization triggers a favorable environment to the new commodities allowing interaction between nations. K-Pop Global expansion is through three stages “Competence” or Hard Power, “Attraction” or Soft Power and last but not least Criticism in order to be able to continue or to have a sustainable career in global industries many things should be taken including “facelift”. The purpose of this research is to figure out that commodification on culture is the answer for Korean Music to have successful world expansion and global stage powered with qualitative research is applies in this research.
{"title":"Globalization and Culture Hybridity; The Commodification on Korean Music and its Successful World Expansion","authors":"Muhammad Fithratullah","doi":"10.29037/digitalpress.42264","DOIUrl":"https://doi.org/10.29037/digitalpress.42264","url":null,"abstract":"\u0000 The absence of borders increases the consciousness on the larger access which creates global dependency in many ways such as trades, traveling, tourism, and culture information and creates borderless countries. Lyman (2000) explains that the movement and the influence of globalization are triggered by many factors such as the economic expansion in the form of massive industrialization and the development of science, technology, and communication. The beauty of globalization is the ability to force people to be creative and innovative in creating something beneficial. Culture are wrapped and formed then exposed, which later called as “exporting culture” or in the more popular form, it is called as commodification. The boom of Korean popular culture in all over Asian countries has increased starting in 2000 it moves forward to rule all over Asia (Hyejung: 2007). The rise of Korean Popular culture through globalization triggers a favorable environment to the new commodities allowing interaction between nations. K-Pop Global expansion is through three stages “Competence” or Hard Power, “Attraction” or Soft Power and last but not least Criticism in order to be able to continue or to have a sustainable career in global industries many things should be taken including “facelift”. The purpose of this research is to figure out that commodification on culture is the answer for Korean Music to have successful world expansion and global stage powered with qualitative research is applies in this research. \u0000","PeriodicalId":270635,"journal":{"name":"Digital Press Social Sciences and Humanities","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131582685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-30DOI: 10.29037/DIGITALPRESS.42257
Hasanul Rizqa
This paper discusses the literary portraying of personal trauma in Omar El Akkad’s dystopian novel American War. The purpose of this research is twofold: (1) identify the way in which the traumatic memory of war victims is transmitted from the first generation to next generation and (2) understand how the narrator constructs his discourse about the future of America and the world. The method used in this research is descriptive qualitative. The researcher uses Christa Schönfelder’s theory on postmodern trauma texts. This research shows that the main narrator’s choice to positioning Sarat as a war victim, not a perpetrator of biological genocide, makes the narrative of Sarat’s traumatic memory political. It exposes that the first generation’s desire for personal narration becomes unnaratable, and that there is second/third generation’s urge for a future beyond trauma. The conclusion proves that American War contains the quest for stability out of disruptive experiences, constituting a crucial aspect of the need for narrative in the face of a dystopian future.
{"title":"Wounds and Words: The Traumatic Memory in Omar El Akkad’s Dystopian Novel","authors":"Hasanul Rizqa","doi":"10.29037/DIGITALPRESS.42257","DOIUrl":"https://doi.org/10.29037/DIGITALPRESS.42257","url":null,"abstract":"\u0000 This paper discusses the literary portraying of personal trauma in Omar El Akkad’s dystopian novel American War. The purpose of this research is twofold: (1) identify the way in which the traumatic memory of war victims is transmitted from the first generation to next generation and (2) understand how the narrator constructs his discourse about the future of America and the world. The method used in this research is descriptive qualitative. The researcher uses Christa Schönfelder’s theory on postmodern trauma texts. This research shows that the main narrator’s choice to positioning Sarat as a war victim, not a perpetrator of biological genocide, makes the narrative of Sarat’s traumatic memory political. It exposes that the first generation’s desire for personal narration becomes unnaratable, and that there is second/third generation’s urge for a future beyond trauma. The conclusion proves that American War contains the quest for stability out of disruptive experiences, constituting a crucial aspect of the need for narrative in the face of a dystopian future.\u0000","PeriodicalId":270635,"journal":{"name":"Digital Press Social Sciences and Humanities","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129631710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-30DOI: 10.29037/DIGITALPRESS.42267
R. Jatmiko
This article discusses the possibility of re-evoking and invigorating romantic spirits to reiterate Indonesian national identity. This commences from the fact that despite its comparatively young age, Indonesia has experienced a number of heroic and romantic struggles, notable in our national history; for instance, the “national awakening movement” Boedi Oetomo in 1908, which became the first modern symbol of national struggle in Indonesia, the Sumpah Pemuda in 1928, which instilled in the youth's mind the three factors in common as our national identity, which binds our multi-cultural existence and experiences i.e. the unity of territory, language, and nation; and the third is Indonesian Declaration of Independence, 17th of August 1945. This study starts from the assumption that those three symbols of struggle and identity are imprinted with romantic spirits, i.e. the sentimental feelings and emotions, which are no longer dealing with the worldly and materialistic considerations. In this discussion, one might question whether Indonesia has ever experienced any romantic movement as what European countries and America had in the end of the 18th century, yet that might not be so critical question in this case. Instead, what might be considered more important is another question such as, “do we need that kind of movement nowadays in order to clearly pronounce our identity?” By careful readings, observations and interpretations based on historiography and other references, this article sees that an attempt to give birth to our own Romanticism might be feasible as a good solution to rebuild our nationalism, since it also deals with recognizing and recalling our lost identity.
{"title":"Reiterating Indonesian National Identity in the Globalized World through a New Romantic Movement","authors":"R. Jatmiko","doi":"10.29037/DIGITALPRESS.42267","DOIUrl":"https://doi.org/10.29037/DIGITALPRESS.42267","url":null,"abstract":"\u0000 This article discusses the possibility of re-evoking and invigorating romantic spirits to reiterate Indonesian national identity. This commences from the fact that despite its comparatively young age, Indonesia has experienced a number of heroic and romantic struggles, notable in our national history; for instance, the “national awakening movement” Boedi Oetomo in 1908, which became the first modern symbol of national struggle in Indonesia, the Sumpah Pemuda in 1928, which instilled in the youth's mind the three factors in common as our national identity, which binds our multi-cultural existence and experiences i.e. the unity of territory, language, and nation; and the third is Indonesian Declaration of Independence, 17th of August 1945. This study starts from the assumption that those three symbols of struggle and identity are imprinted with romantic spirits, i.e. the sentimental feelings and emotions, which are no longer dealing with the worldly and materialistic considerations. In this discussion, one might question whether Indonesia has ever experienced any romantic movement as what European countries and America had in the end of the 18th century, yet that might not be so critical question in this case. Instead, what might be considered more important is another question such as, “do we need that kind of movement nowadays in order to clearly pronounce our identity?” By careful readings, observations and interpretations based on historiography and other references, this article sees that an attempt to give birth to our own Romanticism might be feasible as a good solution to rebuild our nationalism, since it also deals with recognizing and recalling our lost identity.\u0000","PeriodicalId":270635,"journal":{"name":"Digital Press Social Sciences and Humanities","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123921634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-30DOI: 10.29037/DIGITALPRESS.42260
I. K. Sumaryana
Every superhero needs a villain. The Flash is an American superhero television series developed by Greg Berlanti, Andrew Kreisberg, and Geoff Johns, airing on The CW. It is based on the DC Comics character Barry Allen / The Flash, a costumed superhero crime-fighter with the power to move at superhuman speeds. In The Flash TV series Season 1, Eobard Thawne is introduced as a scientist from the future; he duplicated the reaction behind Barry Allen/The Flash's powers and learned he would become his own hero's arch-enemy: the Reverse-Flash. This study is aimed to identify the methods of characterization used in introducing Eobard Thawne as the main villain, and also analyzing the intrinsic and extrinsic motivations that the main villain character develops. In collecting the data, this study used library research and the data itself was analyzed qualitatively. Finally, the methods of characterization of the main villain character as well as the character’s motivations are explained. The character may be seen as simple at first glance, but Eobard Thawne has the components that describe him as evil character; from his characterization in his introduction to the motivations that guide him through each step of the story. Indeed, it is absolute reverse.
{"title":"Eobard Thawne: A Study Case of Main Villains in the Flash Series Season 1","authors":"I. K. Sumaryana","doi":"10.29037/DIGITALPRESS.42260","DOIUrl":"https://doi.org/10.29037/DIGITALPRESS.42260","url":null,"abstract":"\u0000 Every superhero needs a villain. The Flash is an American superhero television series developed by Greg Berlanti, Andrew Kreisberg, and Geoff Johns, airing on The CW. It is based on the DC Comics character Barry Allen / The Flash, a costumed superhero crime-fighter with the power to move at superhuman speeds. In The Flash TV series Season 1, Eobard Thawne is introduced as a scientist from the future; he duplicated the reaction behind Barry Allen/The Flash's powers and learned he would become his own hero's arch-enemy: the Reverse-Flash. This study is aimed to identify the methods of characterization used in introducing Eobard Thawne as the main villain, and also analyzing the intrinsic and extrinsic motivations that the main villain character develops. In collecting the data, this study used library research and the data itself was analyzed qualitatively. Finally, the methods of characterization of the main villain character as well as the character’s motivations are explained. The character may be seen as simple at first glance, but Eobard Thawne has the components that describe him as evil character; from his characterization in his introduction to the motivations that guide him through each step of the story. Indeed, it is absolute reverse.\u0000","PeriodicalId":270635,"journal":{"name":"Digital Press Social Sciences and Humanities","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115697132","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-30DOI: 10.29037/DIGITALPRESS.42261
I. Indrawati, Sri Samiati Tarjana, J. Nurkamto
In view of the cultural aspect, the national identity of Indonesia is the manifestation of cultural values that develop in all aspects of life with unique characteristics differentiating Indonesia from other countries. As a pluralistic country, Indonesia has 34 provinces with more than 16.000 islands of varied cultures. All of which have the power to integrate or disintegrate Indonesia’s national unity. Inevitably, the world is changing in a process of globalization toward creating a new borderless big village with consequences 1) less government power; 2) liberalism; 3) free market economy; 4) western culture hegemony; and many others. Globalization is deemed catastrophic toward Indonesian traditional values. This paper argues that globalization, on the contrary, brings the opportunity to see the reality of language use in that between English and Indonesian pragmatic apology utterances, both expressive speech acts show similarity in apology features. This paper wants to see whether globalization affects local identity in the context of language use. This paper analyzed apology utterances in Friends TV Series as western representation and utterances found in Office Boy TV Series as Indonesian representation. It is a descriptive qualitative study with content analysis adopted from Spradley in Santoso (2017). The finding shows that apology utterances both English and Indonesian realized universal features of apology that is IFID, Responsibility, Explanation, Repair, Forbearance, Addressed, Phatic, and Interjection. In conclusion, there is no language hegemony. If one considers similarities rather than differences, one will get a deeper insight into languages that will broaden one’s view of language.
{"title":"Globalization and Language Hegemony","authors":"I. Indrawati, Sri Samiati Tarjana, J. Nurkamto","doi":"10.29037/DIGITALPRESS.42261","DOIUrl":"https://doi.org/10.29037/DIGITALPRESS.42261","url":null,"abstract":"\u0000 In view of the cultural aspect, the national identity of Indonesia is the manifestation of cultural values that develop in all aspects of life with unique characteristics differentiating Indonesia from other countries. As a pluralistic country, Indonesia has 34 provinces with more than 16.000 islands of varied cultures. All of which have the power to integrate or disintegrate Indonesia’s national unity. Inevitably, the world is changing in a process of globalization toward creating a new borderless big village with consequences 1) less government power; 2) liberalism; 3) free market economy; 4) western culture hegemony; and many others. Globalization is deemed catastrophic toward Indonesian traditional values. This paper argues that globalization, on the contrary, brings the opportunity to see the reality of language use in that between English and Indonesian pragmatic apology utterances, both expressive speech acts show similarity in apology features. This paper wants to see whether globalization affects local identity in the context of language use. This paper analyzed apology utterances in Friends TV Series as western representation and utterances found in Office Boy TV Series as Indonesian representation. It is a descriptive qualitative study with content analysis adopted from Spradley in Santoso (2017). The finding shows that apology utterances both English and Indonesian realized universal features of apology that is IFID, Responsibility, Explanation, Repair, Forbearance, Addressed, Phatic, and Interjection. In conclusion, there is no language hegemony. If one considers similarities rather than differences, one will get a deeper insight into languages that will broaden one’s view of language. \u0000","PeriodicalId":270635,"journal":{"name":"Digital Press Social Sciences and Humanities","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121056240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-30DOI: 10.29037/DIGITALPRESS.42252
A. Amin
America has many cultures and most of them brought by the immigrants, as multiculturalism country it provides the people with freedom to explore themselves with many positive ways, what becoming the issues nowadays is about the origin of certain culture and how it can be part of American culture. Halloween is very famous in many parts of country around the world because some of the countries celebrated this day, in America itself celebrated annually with different ways in each state. Halloween has been being part of American culture, this is one of the important celebrations, here will be discussed about the original ideology of this celebration and the changes which happened in American Halloween. For this case, creolization as theory is able to explain about the study because of the fundamental statement was none of culture is original and there must be influenced by other; furthermore, this study will be clearer with qualitative method and descriptive analysis, at the end of discussion hopes would find the changes that happened in American Halloween.
{"title":"Understanding the Changing Concepts of Halloween in America","authors":"A. Amin","doi":"10.29037/DIGITALPRESS.42252","DOIUrl":"https://doi.org/10.29037/DIGITALPRESS.42252","url":null,"abstract":"\u0000 America has many cultures and most of them brought by the immigrants, as multiculturalism country it provides the people with freedom to explore themselves with many positive ways, what becoming the issues nowadays is about the origin of certain culture and how it can be part of American culture. Halloween is very famous in many parts of country around the world because some of the countries celebrated this day, in America itself celebrated annually with different ways in each state. Halloween has been being part of American culture, this is one of the important celebrations, here will be discussed about the original ideology of this celebration and the changes which happened in American Halloween. For this case, creolization as theory is able to explain about the study because of the fundamental statement was none of culture is original and there must be influenced by other; furthermore, this study will be clearer with qualitative method and descriptive analysis, at the end of discussion hopes would find the changes that happened in American Halloween.\u0000","PeriodicalId":270635,"journal":{"name":"Digital Press Social Sciences and Humanities","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127730672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-30DOI: 10.29037/DIGITALPRESS.42265
Muhammad Hamdan Mukafi
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.
{"title":"Indonesian Literature and Its Identity in the Mood of the Age","authors":"Muhammad Hamdan Mukafi","doi":"10.29037/DIGITALPRESS.42265","DOIUrl":"https://doi.org/10.29037/DIGITALPRESS.42265","url":null,"abstract":"\u0000 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.\u0000","PeriodicalId":270635,"journal":{"name":"Digital Press Social Sciences and Humanities","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128945212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-30DOI: 10.29037/DIGITALPRESS.42269
Restu Anggi Gustara
This is a Critical Discourse Analysis of the collocation of ‘homosexual’, ‘lesbian’, and ‘gay’ terms in the corpus data of Corpus of Contemporary American English (COCA) and British National Corpus (BNC). By conducting Halliday’s theory, this study aims to find out the representation of three terms, ‘homosexual’, lesbian’, and ‘gay’, also the ideology, from the collocation words. As a combined study between Critical Discourse Analysis and Corpus Linguistics, a qualitative and quantitative data were used. By using corpus analysis as the method, the researcher analyzes the ideology based on the collected collocates words. The result of the analysis shows that ‘homosexual’, ‘lesbian’, and ‘gay’ has a linier relationship. Those three terms are used in different area of public text, which are ‘homosexual’ is more acceptable in academic term and ‘lesbian’ and ‘gay’ are mostly used in the non-academic term. Even though COCA and BNC show the different amount of their existence, they are share the same collocation: rights, relationship, lifestyle, identity, activist, and couple.
{"title":"A Critical Discourse Analysis: The\u0000Representation of ‘Homosexual’, ‘Lesbian’, and ‘Gay’ Collocates Words in Cola and BNC Corpus","authors":"Restu Anggi Gustara","doi":"10.29037/DIGITALPRESS.42269","DOIUrl":"https://doi.org/10.29037/DIGITALPRESS.42269","url":null,"abstract":"\u0000 This is a Critical Discourse\u0000Analysis of the collocation of ‘homosexual’, ‘lesbian’, and ‘gay’ terms in the\u0000corpus data of Corpus of Contemporary American English (COCA) and British\u0000National Corpus (BNC). By conducting Halliday’s theory, this study aims to find\u0000out the representation of three terms, ‘homosexual’, lesbian’, and ‘gay’, also the\u0000ideology, from the collocation words. As a combined study between Critical\u0000Discourse Analysis and Corpus Linguistics, a qualitative and quantitative data\u0000were used. By using corpus analysis as the method, the researcher analyzes the\u0000ideology based on the collected collocates words. The result of the analysis\u0000shows that ‘homosexual’, ‘lesbian’, and ‘gay’ has a linier relationship. Those\u0000three terms are used in different area of public text, which are ‘homosexual’ is\u0000more acceptable in academic term and ‘lesbian’ and ‘gay’ are mostly used in the\u0000non-academic term. Even though COCA and BNC show the different amount of their\u0000existence, they are share the same collocation: rights, relationship, lifestyle, identity, activist, and couple.\u0000","PeriodicalId":270635,"journal":{"name":"Digital Press Social Sciences and Humanities","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114126833","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-30DOI: 10.29037/DIGITALPRESS.42259
Ike Revita, Fahmi Gunawan, Rovika Trioclarise, N. Anggreiny
Minangkabau is identical with the system of matrilineal in which the kinship is from maternal line. This matrilineal system brings about the welfare of women in Minangkabau due to heirloom property is handed down to the female children. Thus, women will not be lack of material. This phenomena is contradictory with the activity of violence toward women in Minangkabau. Many Minangkabau women become the victim of violence, even though these women have adequate material inherited from their mother. This writing then tries to describe the local wisdom that can be revitalized to reduce the activity of violence toward women in Minangkabau society. The aim of the research is to identify the local wisdoms in Minangkabau that can prevent the violence toward women. The research is conducted in three areas in West Sumatera, they are Padang, Payakumbuh, and Tanah Datar. The data are collected by having interview, focus group discussion, and observation. The analysis is done by relating it to the concept of local wisdom in Minangkabau and Violence toward women proposed by Idriss and Abbs and also Revita, Wekke and Trioclarise. The result of analysis is descriptively presented. Having analyzed the data, there are at least three local wisdom. They are 1) Adat Basandi Syarak, Syarak Basandi Kitabullah, 2) Bundo Kanduang), and 3) Alam takambang jadi guru.
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