CARNIVAL AND GROTESQUE BODY IN FARUK

Abstrak Sastra tidak dapat dipisahkan dari situasi sosial yang ada ketika ia ditulis. Penulis, sebagai makhluk sosial, hidup dalam rangka sosial tertentu yang mempengaruhi dan ditanggapinya. Realitas sosial ini, jadi, dapat dilihat dalam karya sastra. Namun, ia tidak mesti akan dicerminkan secara langsung. Mikhail Bakhtin menulis bahwa karya sastra dapat membalikkan ideologi yang dominan dengan sifatnya yang carnivalesque. Cerita pendek Indonesi

Services For Homeless Youth: A Needs Assessment and Program Design

Homelessness among youth is a problem that is growing in the Minneapolis/St. Paul metropolitan area. The purpose of this study was to examine the services currently available for this population and to assess whether or not they are sufficient enough to serve the population of young homeless adults. Research for the study was done by looking at existing records such as studies done by the Minnesota Department of Education, and the Minnesota Department of Education. A local study done by the Wilder Research Center on homeless youth and a program evaluation done by the Bridge Inc., was also used to obtain information for the study. The findings of the study indicated that there is a need for further services in the Minneapolis/St. Paul metropolitan area. A program design was then developed. The program design includes the mission, goals and objectives, programming, evaluation, management style and budget. This program when developed will help to more effectively serve the population of homeless youth in this area

Ecological differences amoung [i.e. among] clones of Daphnia.

Source: Masters Abstracts International, Volume: 40-07, page: . Thesis (M.Sc.)--University of Windsor (Canada), 1981

Between the Village and the City Representing Colonial Indonesia in the Films of Saeroen

Following the Great Depression, colonial Indonesia underwent a shift in societal make-up, which influenced various forms of popular culture. Writers and other creative professionals used popular culture to express their opinions on the cultural shift. The reporter turned screenwriter Saeroen was no exception. Attached to four film production houses in his four-year screenwriting career (1937–1941), Saeroen’s oeuvre included some of the biggest commercial successes of the period, and often involved the theme of migration from the villages to the cities. Though the majority of Saeroen’s films are now thought lost, enough evidence survives in the form of film reviews, novelizations, and promotional material for a textual analysis of his works and the views contained within. As will be shown, Saeroen’s works represent a testament to the experience of abandoning the villages and embracing the cities. Using post-colonial theory and Upstone’s concept of space, we argue that Saeroen represented colonial cities as both full of the possibility for further development and replete with dangers not found in the villages, and villages as stagnant and rarely changing with few intrinsic dangers. We further argue that cities and villages in these films become embodiments of the oft-contrasted concepts of modernity and tradition. Ultimately, we conclude that Saeroen’s representation of colonial Indonesia is intended as both a warning against embracing modernity at the expense of tradition, as well as a call for further modernization

The Practice of Power and The Adaptation Process: Film Adaptations from Novels in 1950s Indonesia

This article examines film adaptationsfrom novels in 1950s Indonesia, positioning them as being influenced by and subject to the exercise of economic, cultural, social, and symbolic power. It notes the various power structures that influenced the adaptation process during this time, including the selection of novels to adapt, as well as the advertising and reception of these films' positions as adaptations. It argues that the weak position of film adaptations in contemporary discourse can be attributed to several factors, particularly low literacy rates and the corresponding market implicationsand an emphasis on literature as belles lettres rather than the popular literature from which most films were adapted

LIVED EXPERIENCES OF MUSLIM HIGH SCHOOL STUDENTS AT J.L. FORSTER SECONDARY SCHOOL, WINDSOR, ONTARIO, CANADA

As international migration increases, questions of cross-cultural understanding and pluralism become increasingly important. People live and learn in heterogeneous communities where some, or even many, members have different ethnic, religious, or socio-economic backgrounds. This article explores the involvement of minority groups in the learning process by discussing the lived experiences of Muslims at J.L. Forster Secondary School, a senior high school in Windsor, Ontario, Canada. A religious minority, Muslim students were nonetheless able to follow their religious guidelines and expectations. They were able to keep hijab, to keep halal, and to worship within the secular school context with little difficulty and without any conflict in values. Although they did not receive a religious education at school, they continued their religious studies in their families and in the mosqu

URBAN SPACES, RURAL SPACES, AND "OTHER SPACES" IN INDONESIAN FILM FLYERS (1966–1998)

In this article, I examine some three hundred Indonesian film flyers released between 1966 and 1998. I identify three categories of spatial representation: urban spaces, rural spaces, and what I term "other spaces". Urban spaces utilize depictions of high-rises, landmarks, sexuality, crowds, and/or technology as markers of a (Westernized) modernity. Depictions of rural spaces, conversely, emphasize the beauty or dangers of the natural world, as well as strong emotions and primitivism. These depictions suggest the prioritization of an orderly urbanity over a disorderly rurality, with more orderly rural spaces only being locations for travel. "Other spaces", meanwhile, present and/or combine markers of urban and/or rural space, thus forcing viewers to differentiate between place and space and recognize both the constructed nature of space itself and the possible benefits of disorder.

Implikasi Metodologis dari Teori Ekranisasi George Bluestone dalam Buku Novels into Film

Teori yang ditawarkan George Bluestone dalam buku Novels into Film (1957) terhitung salah satu teori yang sangat berpengaruh dalam kajian ekranisasi, baik di dalam dan luar negeri. Namun, teori tersebut sampai sekarang kurang banyak dibahas secara mendetail dalam bahasa Indonesia, sehingga penerapannya kerap kurang tepat. Karena itu, dalam artikel ini dijelaskan pokok-pokok teori ekranisasi Bluestone serta landasan filosofis dan implikasi metodologisnya. Bluestone berpendapat bahwa, dalam proses ekranisasi, tidak mungkin tidak ada perubahan, sebab perbedaan media novel (sebagai media bahasa) dan film (sebagai media plastik) menuntut adanya sejumlah perubahan lain, yang dapat digolongkan sebagai penambahan, penciutan, dan perubahan. Karena perbedaan media ini, tokoh dalam film hasil ekranisasi menjadi lebih sederhana, adegan ditambah, diubah, atau dihilangkan, dan simbol-simbol yang digunakan dalam bercerita pun mengalami transformasi. Karena itu, Bluestone berpendapat bahwa film hasil ekranisasi setepatnya dinilai sebagai film; membandingkan film dengan novel sama halnya dengan membandingkan hasil arsitektur dengan lagu

A LACANIAN PSYCHOANALYSIS OF THE CHARACTER KARMAN IN AHMAD TOHARI’S KUBAH

JacquesLacan’s poststructuralist theories of psychology have greatly affected modern understandings of the human psyche. This is evident in literary studies, where numerous thinkers – including Lacan himself – have applied these theories to better understand works of literature. One work which benefits from such an application is Ahmad Tohari’s Kubah, a 1982 novel on the ex-communist Karman’s seeming redemption after spending twelve years as a political prisoner. This paper will use a Lacanian psychoanalysis to show how Karman’s need to find wholeness, one which has been lost since before his birth, led to his various activities, including the joining of the Communist Party and his return to Islam. Although the novel ends on a hopeful note, it will be shown that Karman has not truly found the wholeness for which he has searched