Wahyu Gandi G

This study aims to reveal the impact and response to the apartheid system in shaping the collective trauma of African society through symbolic representations of suffering and social performativity through political action in “Amnesty” short story by Nadine Gordimer. This study used the cultural trauma theory by Jeffrey Alexander with descriptive qualitative method. The results of this research found that social suffering is symbolically represented with a humanist and theocentric images. Even so, the two seemingly different treatments are essentially the same suffering, disguised by social and cultural symbols. Then, as a response to this suffering, there was social performativy through the political actions of social agents carried out by the Labor Union. These actions occur after going through of socio-cultural processes such as gathering, organizing, rioting, speeches, demonstrations, and accommodating or representing pain as well as distributing social awareness to arrive at the point where the apartheid system is the cause of all forms of suffering they experience.

Women in patriarchal culture are treated unfairly and seen as second-class beings. Their presence is considered as something incidental and not essential. For this reason, this paper examines one of the short stories by Muna Masyari, a female writer from Pamekasan, Madura Sortana. Matchmaking and the myth of the Madurese have put Madurese women in a state of oppression and unfavorable conditions because of the binding culture that dominates women. Muna, using the Sortana short story as a means to advocate for the value of feminism which in the context of Madurese culture is taboo to fight against. This study aims to explore the existence of women who are represented by female characters called Embu. This research method uses qualitative-descriptive research by analyzing the content of the story, looking at sentences and paragraphs related to the issue of the existence of women in Sortana short story. The theoretical concept used is existentialist feminism. From the results of the analysis, it is known that the gender injustice experienced by the Embu character in the short story is in the form of marginalization, subordination, and stereotypes. Meanwhile, through his actions, the Embu figure has the awareness to become the Self in order to be free from the Other.

Tulisan ini menggunakan teks cerpen Jangan Tanyakan Tentang Mereka yang Memotong Lidahku (JT2M2L) karya Faisal Oddang sebagai objek material dan konsep biopolitis modern Giorgio Agamben sebagai objek formal. Karya tersebut bercerita tentang seorang Bissu bernama Upe yang mengabdikan diri kepada Dewata. Bersama tokoh lainnya, mereka mengenang peristiwa berdarah yang pernah menimpa di tahun 1965. Didasarkan pada latar belakang tersebut, kajian ini bertujuan mengungkap state of exception yang dialami komunitas Bissu, serta menyingkap gambaran mereka selaku subjek usai dieksepsi dan menjadi bare life (telanjang) dalam cerpen JT2M2L. Metode yang digunakan adalah kualitatif deskriptif dengan menganalisis data menggunakan teknik baca simbolik dan semantik, teknik catat kuotasi, dan teknik parafrase. Hasilnya ditemukan hadirnya eksepsi yang disengaja oleh negara melalui jalan operasi militer dan normalisasi dengan dalih keadaan darurat. Kedaruratan memungkinkan negara mengabaikan hukum dan prosedur demokratis yang pada akhirnya turut andil menciptakan homo sacer. Dari eksepsi tersebut, objektivikasi komunitas Bissu menyebabkan ditangguhkannya hak hukum, politik, dan asasinya seiring pemegang kedaulatan berhasil memproduksi bare life. Ketelanjangan tersebut berakibat komunitas Bissu dapat menjadi objek apapun bagi entitas manapun.

This study aims to uncover the praxis of singularity and self-identity (kedirian) as presented in a short story titled Aroma Tanah Moncongloe (ATM). This research uses a descriptive-qualitative method by applying the post-marxist perspective by Antonio Negri and Jean-Luc Nancy. The results signified that there is a labeling of identity constructed by the state as a form of uniformity that is in line with the empire or external power. This uniformity can be seen from the identity of former political prisoners who are isolated and find it difficult to find work. Through the concept of singularity and identity, the existence of political prisoner (ex-tapol) in turn is seen as bad, evil, and can pollute a clean society. On the other hand, this stigma forms a community of ex-tapol who were marginalized politically, socially, and economically. Furthermore, in the subject’s effort to grasp the singularity, there are two indications, shown by Nanni and the Moncongloe Tapol Community (KTM). Nanni is not tied to a single identity as a child (genealogical-biological), but tend to be an open-minded, rational, and trusting teacher (sociological). Meanwhile, KTM stands outside the global political order or empire which minimizes them being entangled in the global capitalist system.

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.

Tulisan ini bertujuan mengurai makna dan retorika penciptaan mantra Cenning Rara sebagai salah satu perwujudan sastra lisan suku Bugis di Sulawesi Selatan. Mantra Cenning Rara adalah sejenis ilmu pengasihan, berisi doa-doa pemikat, dipercaya masyarakat Bugis dapat memikat hati lawan jenisnya. Saat ini, mantra tersebut mulai tergerus dan jarang digunakan dengan sejumlah alasan, satu di antaranya terkoptasi oleh nilai-nilai religi yang berkembang belakangan. Berdasarkan latar belakang tersebut, penelitian ini dilakukan untuk (1) mengetahui makna mantra Cenning Rara, serta (2) retorika penciptaan yang mendasarinya berfungsi sebagai mantra pemikat lawan jenis. Metode yang digunakan adalah deskriptif kualitatif, memperoleh data dalam bentuk narasi bukan angka. Objek penelitian ini terdiri dari dua; objek material dalam hal ini hasil transkripsi dan terjemahan mantra Cenning Rara, dan teori semiotika Riffaterre dan formula Albert B. Lord sebagai objek formal. Hasil penelitian menunjukkan bahwa mantra Cenning Rara secara heuristik mengandung makna keterpesonaan terhadap seseorang. Sementara secara hermeneutik, keterpesonaan tersebut diekspresikan tidak berdiri sendiri, tetapi dibarengi unsur-unsur seperti keyakinan, paksaan, dan ancaman; bahwa mantra adalah media yang dapat mengobati sekaligus melukai. Selain itu, retorika penciptaan mantra Cenning Rara melalui formula sebagai sarana penyampaian gagasan, selain dilandasi oleh keyakinan dan kepercayaan—juga didorong oleh kepandaian penutur dalam menciptakan wacana estetik yang ritmis dan puitis.

This research examines the novel No Time Like the Present (NTLP) by Nadine Gordimer as a material object. This novel outlines the conditions and situation of the post-apartheid South African country with various post-colonial problems. Centered on the life of a mixed family, black and white, with the characters of former independence fighter Umkhonto, the novel shows how the tortured and fragmented essence of a country struggles to define itself as a post-apartheid nation. In this regard, as an implication of this problem, this research formulates two problems, (1) How do the colonial memory and trauma contructed in NTLP novel? And (2) How are the subject efforts to accept and recover from the trauma? To solve those problems, this research uses Postcolonial Trauma perpective of Step Craps and combined with reconciliation theory from Dominick LaCapra as a formal object. The aims of this research to (1) describe the construction of memory and colonial trauma through narrative witnessing that has an impact on the existence of the traumatic subject in the novel, and (2) explain the traumatized subjects efforts to survive through recovery and acceptance of the trauma experienced. This research is qualitative-descriptive by analyzing data using phenomenological method. The method used to analyze the events as well as traumatic experiences constructed in literary texts. The research resulted, (1) the construction of traumatic memories originating from apartheid events is narrated in various forms of torture carried out by the white regime, both directly against Umkhonto and South African society in general, including arrests and killings, segregation and cladestine life, invasions home, and cultural racism. This experience in turn causes collective trauma, which is narrated in symptoms such as the inability of the subject, feelings of inferiority, self-loathing, to Xenophobia. Furthermore, (2) in the efforts of reconciliation, social, political, economic, and other transformations and reforms, it encourages traumatic subjects to persist in the present and in the future, even though the past is still haunted. As an entity that represents the collectivism of the South African people, Umkhonto demonstrates persistence, reconnecting experiences, knowledge and feelings between them through acceptance of reality, selecting the right listeners or mates, and working towards voting rights in elections.