Pub Date : 2022-12-14DOI: 10.14421/ajbs.2022.06202
Akhmad Patah, Umi Nurun Ni'mah
In general, the quality standard of classical Arabic poetry refers to the formulation of Al-Khalil bin Ahmad al-Farahidi, i.e Ilmu al-‘Arūd̩ wa al-Qawāfī. Even though these standards are so mainstream, in fact, some of the poetry of classical poets do not always live up to those standards, even the poetry of the great ones. This paper focuses on this, especially in terms of qāfiyah (rhymes of poetry), by taking the case of Umru' al-Qais poems as an example. The question that is then attempted to be answered is: how can a qualification be standardized when in fact, it is not fully followed by poets, even the great ones? The results of the discussion show that there are two possibilities. First, how the poets assessed the quality of poetry is different from how al-Farahidi did. Second, Al-Farahidi only took the abundant data available as what to be standardized in a theory.
一般来说，阿拉伯古典诗歌的质量标准是指al- khalil bin Ahmad al- farahidi的提法，即Ilmu al- ' Arūd æ wa al-Qawāfī。尽管这些标准是如此的主流，但事实上，一些古典诗人的诗歌并不总是符合这些标准，即使是伟大诗人的诗歌。本文以乌姆鲁的诗歌为例，着重从qāfiyah(诗歌的押韵)的角度进行探讨。然后试图回答的问题是:当诗人，甚至是伟大的诗人，实际上并没有完全遵循一种资格时，如何能将其标准化?讨论的结果表明有两种可能。首先，诗人评估诗歌质量的方式与al-Farahidi不同。其次，Al-Farahidi只是把大量的可用数据作为理论中需要标准化的东西。
{"title":"CACAT QĀFIYAH DALAM PUISI UMRU’ AL-QAIS (KAJIAN PUISI PERSPEKTIF ILMU Al-QAWĀFI)","authors":"Akhmad Patah, Umi Nurun Ni'mah","doi":"10.14421/ajbs.2022.06202","DOIUrl":"https://doi.org/10.14421/ajbs.2022.06202","url":null,"abstract":"In general, the quality standard of classical Arabic poetry refers to the formulation of Al-Khalil bin Ahmad al-Farahidi, i.e Ilmu al-‘Arūd̩ wa al-Qawāfī. Even though these standards are so mainstream, in fact, some of the poetry of classical poets do not always live up to those standards, even the poetry of the great ones. This paper focuses on this, especially in terms of qāfiyah (rhymes of poetry), by taking the case of Umru' al-Qais poems as an example. The question that is then attempted to be answered is: how can a qualification be standardized when in fact, it is not fully followed by poets, even the great ones? The results of the discussion show that there are two possibilities. First, how the poets assessed the quality of poetry is different from how al-Farahidi did. Second, Al-Farahidi only took the abundant data available as what to be standardized in a theory.","PeriodicalId":285104,"journal":{"name":"Adabiyyāt: Jurnal Bahasa dan Sastra","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114544796","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 : 2022-12-09DOI: 10.14421/ajbs.2022.06201
Isep Bayu Arisandi
{"title":"PENULIS PEREMPUAN DAN LOKALITAS DALAM RUBRIK CERPEN JAWA POS TAHUN 2021","authors":"Isep Bayu Arisandi","doi":"10.14421/ajbs.2022.06201","DOIUrl":"https://doi.org/10.14421/ajbs.2022.06201","url":null,"abstract":"","PeriodicalId":285104,"journal":{"name":"Adabiyyāt: Jurnal Bahasa dan Sastra","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123555087","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 : 2022-07-23DOI: 10.14421/ajbs.2022.06106
Dwi Susanto, Miftah Nugroho, Rianna Wati
{"title":"ISLAM, PEREMPUAN, DAN WACANA MODERNITAS DALAM RATU YANG BERSUJUD KARYA MAHDAVI DAN SERIAL JILBAB TRAVELER KARYA ASMA NADIA","authors":"Dwi Susanto, Miftah Nugroho, Rianna Wati","doi":"10.14421/ajbs.2022.06106","DOIUrl":"https://doi.org/10.14421/ajbs.2022.06106","url":null,"abstract":"","PeriodicalId":285104,"journal":{"name":"Adabiyyāt: Jurnal Bahasa dan Sastra","volume":"1073 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116019377","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 : 2022-07-17DOI: 10.14421/ajbs.2022.06105
M. Musthofa
This paper describes an epistemological perspective of a new discipline in applied linguistics studies called "computational linguistics," the challenge and response faced by Indonesian linguists, and his problems in developing it. The analysis is carried out by utilizing epistemological concepts and theories, combined with Gianluca Carnabuci's theory called "knowledge hybridization" and the "challenge and response" theory proposed by Arnold J. Toynbee. The results show that epistemologically, computational linguistics has the validity to be called a scientific discipline. However, the response of Indonesian academics to its existence is still inadequate. This is related to the various challenges they face. For this reason, it is necessary to make multiple efforts to overcome it.
本文从认识论的角度描述了应用语言学研究中被称为“计算语言学”的一门新学科，印度尼西亚语言学家面临的挑战和应对，以及他在发展这门学科时遇到的问题。运用认识论的概念和理论，结合Gianluca Carnabuci的“知识杂交”理论和Arnold J. Toynbee的“挑战与回应”理论进行分析。结果表明，在认识论上，计算语言学具有被称为一门科学学科的有效性。然而，印尼学术界对其存在的反应仍然不足。这与他们面临的各种挑战有关。因此，需要多方努力来克服它。
{"title":"LINGUISTIK KOMPUTASI SEBAGAI DISIPLIN ILMU DAN RESPONS AKADEMIK DI LINGKUNGAN PERGURUAN TINGGI DI INDONESIA","authors":"M. Musthofa","doi":"10.14421/ajbs.2022.06105","DOIUrl":"https://doi.org/10.14421/ajbs.2022.06105","url":null,"abstract":"This paper describes an epistemological perspective of a new discipline in applied linguistics studies called \"computational linguistics,\" the challenge and response faced by Indonesian linguists, and his problems in developing it. The analysis is carried out by utilizing epistemological concepts and theories, combined with Gianluca Carnabuci's theory called \"knowledge hybridization\" and the \"challenge and response\" theory proposed by Arnold J. Toynbee. The results show that epistemologically, computational linguistics has the validity to be called a scientific discipline. However, the response of Indonesian academics to its existence is still inadequate. This is related to the various challenges they face. For this reason, it is necessary to make multiple efforts to overcome it.","PeriodicalId":285104,"journal":{"name":"Adabiyyāt: Jurnal Bahasa dan Sastra","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126534210","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 : 2022-07-13DOI: 10.14421/ajbs.2022.06104
Mohammad Badrus Sholih
In a literary work, there is the desire of the character in it, and also the desire of the author which is listed and becomes the fulfillment of his desire. For Lacan, the fulfillment of desires is a process to achieve an authentic and whole subject. However, this is a complicated problem when it comes to dealing with and entering into a symbolic order. The film “Marlina The Killer of Four Acts” is one of the films that portray the problematics of the subject in a symbolic order so that it triggers the writer to understand the problem of subjectivity using Jacques Lacan's psychoanalytic theory. There are problems that the author wants to answer regarding the subject of Marlina, namely, 1) how is the image of the desire of the subject of Marlina displayed? 2) what is the desire of the film writer? and 3) what is the correlation with the media apparatus? This research uses the Lacanian psychoanalytic method to find answers to the problems of the subject in Marlina's character. The authors get results in the form of 1) how the image obtained by Marlina is identification in the mirror phase formed by language contaminated by other desires, thus making Marlina have a jouissance to get out of the symbolic order and achieve an authentic subject 2) also how the film's author's desire is a desire contained in the character of Marlina, and 3) how the media becomes a castration of the author's desire that prevents the author from achieving wholeness in his subject .
{"title":"MARLINA: POLEMIK KE-SUBJEK-AN DALAM SASTRA DAN MEDIA","authors":"Mohammad Badrus Sholih","doi":"10.14421/ajbs.2022.06104","DOIUrl":"https://doi.org/10.14421/ajbs.2022.06104","url":null,"abstract":"In a literary work, there is the desire of the character in it, and also the desire of the author which is listed and becomes the fulfillment of his desire. For Lacan, the fulfillment of desires is a process to achieve an authentic and whole subject. However, this is a complicated problem when it comes to dealing with and entering into a symbolic order. The film “Marlina The Killer of Four Acts” is one of the films that portray the problematics of the subject in a symbolic order so that it triggers the writer to understand the problem of subjectivity using Jacques Lacan's psychoanalytic theory. There are problems that the author wants to answer regarding the subject of Marlina, namely, 1) how is the image of the desire of the subject of Marlina displayed? 2) what is the desire of the film writer? and 3) what is the correlation with the media apparatus? This research uses the Lacanian psychoanalytic method to find answers to the problems of the subject in Marlina's character. The authors get results in the form of 1) how the image obtained by Marlina is identification in the mirror phase formed by language contaminated by other desires, thus making Marlina have a jouissance to get out of the symbolic order and achieve an authentic subject 2) also how the film's author's desire is a desire contained in the character of Marlina, and 3) how the media becomes a castration of the author's desire that prevents the author from achieving wholeness in his subject .","PeriodicalId":285104,"journal":{"name":"Adabiyyāt: Jurnal Bahasa dan Sastra","volume":"614-615 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127859671","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 : 2022-07-01DOI: 10.14421/ajbs.2022.06103
Dona Aji Karunia Putra
Advertisements tend to be packed with strong, persuasive, and emotional language. To be able to create a persuasive and emotional effect, proper linguistic features are needed. This study aims to reveal linguistic features in the form of verbs and adjectives as the main weapon in online loan advertising. In addition, this study also seeks to see the relationship between the use of adjectives in online loan advertisements with the public's view. The research method used is descriptive qualitative. The data in this study are in the form of verbs and adjectives contained in online loan application advertisements. The data sources in this study are online loan advertisements registered with the OJK. The results show that the use of verbs in online loan advertisements tends to achieve interrogative and imperative functions. The use of “cepat”, “aman”, and “mudah” adjectives is intended as a strategy to increase the selling value and attractiveness of loan products. The use of “cepat”, “aman”, and “mudah” adjectives in online loan advertisements tends to describe changes in people's views or mindsets in general, especially in the economic field (loan services).
{"title":"KARAKTERISTIK VERBA DAN ADJEKTIVA DALAM IKLAN APLIKASI PINJAMAN ONLINE","authors":"Dona Aji Karunia Putra","doi":"10.14421/ajbs.2022.06103","DOIUrl":"https://doi.org/10.14421/ajbs.2022.06103","url":null,"abstract":"Advertisements tend to be packed with strong, persuasive, and emotional language. To be able to create a persuasive and emotional effect, proper linguistic features are needed. This study aims to reveal linguistic features in the form of verbs and adjectives as the main weapon in online loan advertising. In addition, this study also seeks to see the relationship between the use of adjectives in online loan advertisements with the public's view. The research method used is descriptive qualitative. The data in this study are in the form of verbs and adjectives contained in online loan application advertisements. The data sources in this study are online loan advertisements registered with the OJK. The results show that the use of verbs in online loan advertisements tends to achieve interrogative and imperative functions. The use of “cepat”, “aman”, and “mudah” adjectives is intended as a strategy to increase the selling value and attractiveness of loan products. The use of “cepat”, “aman”, and “mudah” adjectives in online loan advertisements tends to describe changes in people's views or mindsets in general, especially in the economic field (loan services).","PeriodicalId":285104,"journal":{"name":"Adabiyyāt: Jurnal Bahasa dan Sastra","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115444108","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 : 2022-06-30DOI: 10.14421/ajbs.2022.06102
Rihaadatul 'Aisyil Mubarokati
A Women Is No Man presents the struggle of Isra Hadid and Deya Ra’ad to break the gender hierarchy in the family wrapped in religious dogma and try to regain their rights and freedoms as human women. Religion in this story becomes a legitimator for those main characters’ families to justify the practice of patriarchy in their traditions. Thus, the same oppression experienced by those two main female characters from different generations and growing up in different countries continues. By using the theory of Islamic feminism proposed by Wadud, the struggles experienced by Isra Hadid and Deya Ra’ad show the injustice between men’s and women’s positions in their tradition marginalizing and exploiting women, which does not exist in the understanding of Islam. This study applies the Narratology method to reveal the struggles of the two female characters by re-reading religious texts in reproducing meaning through Amina Wadud’s Islamic feminism. Islamic feminism theory is a theory that focuses on equality between men and women in Islam. Islamic feminism by Wadud tries to explain misconceptions about the status and role of women in Islam through re-reading the Qur’an and Hadith from a woman’s perspective. The results obtained from the study conclude that the inequality in the status and role of women in the Isra and Deya’s family traditions still continues to the next generation, although the intensity is reduced.
《女人不是男人》讲述了伊斯拉·哈迪德和德雅·拉阿德为打破被宗教教条包裹的家庭性别等级制度而进行的斗争，她们试图重新获得作为人类女性的权利和自由。在这个故事中，宗教成为了这些主要人物的家庭的合法代言人，为他们传统中的父权制度辩护。因此，这两位来自不同时代、成长于不同国家的主要女性角色所经历的同样的压迫仍在继续。利用Wadud提出的伊斯兰女性主义理论，Isra Hadid和Deya Ra 'ad的斗争表明，在他们边缘化和剥削女性的传统中，男性和女性的地位是不公正的，这在伊斯兰教的理解中是不存在的。本研究运用叙事学的方法，通过阿米娜·瓦杜德的伊斯兰女性主义思想，通过对宗教文本的重读来再现意义，揭示两位女性角色的斗争。伊斯兰女性主义理论是一种关注伊斯兰教中男女平等的理论。Wadud的伊斯兰女权主义试图通过从女性的角度重新阅读《古兰经》和《圣训》来解释关于女性在伊斯兰中的地位和作用的误解。研究得出的结论是，在以色列和Deya的家庭传统中，妇女地位和作用的不平等仍然延续到下一代，尽管强度有所降低。
{"title":"POTRET PERJUANGAN PEREMPUAN OLEH ISRA HADID DAN DEYA RA’AD DALAM A WOMAN IS NO MAN KARYA ETAF RUM","authors":"Rihaadatul 'Aisyil Mubarokati","doi":"10.14421/ajbs.2022.06102","DOIUrl":"https://doi.org/10.14421/ajbs.2022.06102","url":null,"abstract":"A Women Is No Man presents the struggle of Isra Hadid and Deya Ra’ad to break the gender hierarchy in the family wrapped in religious dogma and try to regain their rights and freedoms as human women. Religion in this story becomes a legitimator for those main characters’ families to justify the practice of patriarchy in their traditions. Thus, the same oppression experienced by those two main female characters from different generations and growing up in different countries continues. By using the theory of Islamic feminism proposed by Wadud, the struggles experienced by Isra Hadid and Deya Ra’ad show the injustice between men’s and women’s positions in their tradition marginalizing and exploiting women, which does not exist in the understanding of Islam. This study applies the Narratology method to reveal the struggles of the two female characters by re-reading religious texts in reproducing meaning through Amina Wadud’s Islamic feminism. Islamic feminism theory is a theory that focuses on equality between men and women in Islam. Islamic feminism by Wadud tries to explain misconceptions about the status and role of women in Islam through re-reading the Qur’an and Hadith from a woman’s perspective. The results obtained from the study conclude that the inequality in the status and role of women in the Isra and Deya’s family traditions still continues to the next generation, although the intensity is reduced.","PeriodicalId":285104,"journal":{"name":"Adabiyyāt: Jurnal Bahasa dan Sastra","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126096967","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 : 2022-06-22DOI: 10.14421/ajbs.2022.06101
M. Afifulloh
This article tries to explore some of the implication of Carl Gustav Jung’s theory of personal dimension and collective dimension as represented by the characters in Fate: The Winx saga. This film is produced by Netflix and released on 22 January 2021. In this research, film is assumed as media to validate Jung’s theory about human psyche. This research is a qualitative descriptive. The data were processed by analyzing, categorizing, and interpreting the visual codes provided by the film. Therefore, the meaning can be theoretically drawn. The result of this study shows that the personal and collective dimensions offered by Jung are owned by the characters in the film. The personal dimension manifests in the Ego in the form of emotions and memories of the past. This personal dimension is represented through the characters such as Bloom, Musa, and Terra. While the collective dimension can be explained through the persona, shadow, anima and animus shared by all the characters in the film.
{"title":"DIMENSI PERSONAL DAN DIMENSI KOLEKTIF DALAM BUDAYA POPULER: KAJIAN PSIKOLOGI ANALITIS DALAM FILM FATE: THE WINX SAGA","authors":"M. Afifulloh","doi":"10.14421/ajbs.2022.06101","DOIUrl":"https://doi.org/10.14421/ajbs.2022.06101","url":null,"abstract":"This article tries to explore some of the implication of Carl Gustav Jung’s theory of personal dimension and collective dimension as represented by the characters in Fate: The Winx saga. This film is produced by Netflix and released on 22 January 2021. In this research, film is assumed as media to validate Jung’s theory about human psyche. This research is a qualitative descriptive. The data were processed by analyzing, categorizing, and interpreting the visual codes provided by the film. Therefore, the meaning can be theoretically drawn. The result of this study shows that the personal and collective dimensions offered by Jung are owned by the characters in the film. The personal dimension manifests in the Ego in the form of emotions and memories of the past. This personal dimension is represented through the characters such as Bloom, Musa, and Terra. While the collective dimension can be explained through the persona, shadow, anima and animus shared by all the characters in the film.","PeriodicalId":285104,"journal":{"name":"Adabiyyāt: Jurnal Bahasa dan Sastra","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130102664","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 : 2022-02-17DOI: 10.14421/ajbs.2021.05201
Irmawati Irmawati, W. G
The story of “Kutukan Dapur” by Eka Kurniawan presents a colonial setting: Dutch colonialism and postcolonialism in the image of two characters, Diah Ayu and Maharani. Maharani is in patriarchal shackles, which is ingrained in her family life and social structure. Meanwhile, Diah Ayu is in the bonds of Dutch colonialism, which is brought back by the author. Both are in a subaltern position but in different conditions. Based on this description, this research asks two questions which are analyzed using Gayatri Spivak's subaltern theory, (1) what the position of Diah Ayu and Maharani in "Kutukan Dapur" short story, and (2) how the subaltern is constructed through the efforts of the two characters to get out of that position is. The method used is qualitative. The narratives are classified and analyzed to understand the subaltern's position and construction and its resistance efforts. This research indicates that Maharani and Diah Ayu are subalterns of Maharani dominated by patriarchy, while Diah Ayu is dominated by Dutch colonialism. Maharani fought back, but only with an idea or ideas. Unlike Diah Ayu, she is able to fight in a real form. However, as the author, Eka is trapped in a biased construction in addition to gender bias and representation. In subaltern studies, representation is only a tool towards more real domination. The two figures seem to be fighting against the power structure (colonial and patriarchal) but are still trapped in the dominance of the other.
{"title":"SUBALTERNITAS TOKOH DIAH AYU DAN MAHARANI: ANTARA KUTUKAN DAN SENJATA","authors":"Irmawati Irmawati, W. G","doi":"10.14421/ajbs.2021.05201","DOIUrl":"https://doi.org/10.14421/ajbs.2021.05201","url":null,"abstract":"The story of “Kutukan Dapur” by Eka Kurniawan presents a colonial setting: Dutch colonialism and postcolonialism in the image of two characters, Diah Ayu and Maharani. Maharani is in patriarchal shackles, which is ingrained in her family life and social structure. Meanwhile, Diah Ayu is in the bonds of Dutch colonialism, which is brought back by the author. Both are in a subaltern position but in different conditions. Based on this description, this research asks two questions which are analyzed using Gayatri Spivak's subaltern theory, (1) what the position of Diah Ayu and Maharani in \"Kutukan Dapur\" short story, and (2) how the subaltern is constructed through the efforts of the two characters to get out of that position is. The method used is qualitative. The narratives are classified and analyzed to understand the subaltern's position and construction and its resistance efforts. This research indicates that Maharani and Diah Ayu are subalterns of Maharani dominated by patriarchy, while Diah Ayu is dominated by Dutch colonialism. Maharani fought back, but only with an idea or ideas. Unlike Diah Ayu, she is able to fight in a real form. However, as the author, Eka is trapped in a biased construction in addition to gender bias and representation. In subaltern studies, representation is only a tool towards more real domination. The two figures seem to be fighting against the power structure (colonial and patriarchal) but are still trapped in the dominance of the other.","PeriodicalId":285104,"journal":{"name":"Adabiyyāt: Jurnal Bahasa dan Sastra","volume":"49 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130736965","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 : 2021-12-31DOI: 10.14421/ajbs.2021.05101
Ricky Yudhistira Nasution
{"title":"AJO “YANG POLITIS”: MENGGUGAT REZIM PARTISI DALAM CERPEN ROBOHNYA SURAU KAMI KARYA A.A. NAVIS","authors":"Ricky Yudhistira Nasution","doi":"10.14421/ajbs.2021.05101","DOIUrl":"https://doi.org/10.14421/ajbs.2021.05101","url":null,"abstract":"","PeriodicalId":285104,"journal":{"name":"Adabiyyāt: Jurnal Bahasa dan Sastra","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123905906","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}
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