Sutan takdir alisjahbana biography of donald

INTERPRETATION OF SUTAN TAKDIR ALISJAHBANA'S NOVEL “DIAN YANG TAK KUNJUNG PADAM” Jafar Lantowa Faculty of Literature and Culture, State University of Gorontalo, Indonesia Jalan Jenderal Sudirman No. 6 Gorontalo, Indonesia Corresponding Author: jafar.lantowa@ung.ac.id Article History: Submitted: 27 May 2020; Revised: 21 July 2020; Accepted: 9 August 2020 DOI: 10.26858/retorika.v13i2.13847 RETORIKA: Jurnal Bahasa, Sastra dan Pengajarannya under Creative Commons Attribution-Non Commercial 4.0 International License. ISSN: 2614-2716 (print), ISSN: 2301-4768 (online) http://ojs.unm.ac.id/retorika Abstract: This study aims to uncover the implicit meaning contained in Sutan Takdir Alisjahbana’s novel Dian yang Tak Kunjung Padam through Yuri Lotman's semiotic approach. The first edition of this novel was published in 2007 by Dian Rakyat with a total of 156 pages. The method used in this study was qualitative method. The data were collected from two sources, namely intra textual data which was Sutan Takdir Alisjahbana’s novel Dian yang Tak Kunjung Padam and extra textual data which were correlated to the novel. The results showed that the structure of the novel was formed by semantic units in the form of binary oppositions which were equivalent to each other. The semantic units led to an archiseme which was a spatial form of the aristocracy view of life namely longing vs. hate. In the novel, the aristocracy view of life in Palembang society was placed in opposition to the structure of another view of life, the proletariat. The later was evaluated based on the aristocracy. The codes of aristocracy and proletariat in the text of the novel were related to those outside the text. The main semantic units of Palembang aristocracy are bilateral vs. personal and wealth vs. love. Keywords: binary opposition, literary, novel, semantics field tains a complex and unique structure and expr

Indonesia’s “New Order,” the authoritarian military regime led by General Suharto from 1966-1998, originated following the kidnapping and killing of six Army generals on September 30th-October 1, 1965. The conventional narrative often depicts this regime change as a sudden event, but historian Norman Joshua, APARC's 2023-24 Shorenstein postdoctoral fellow on contemporary Asia, challenges this view.  Joshua’s research explains why the civil-military relationships and social militarization that emerged in Indonesia from the period under Dutch colonial rule in the preceding decade allowed the New Order to solidify power in 1965.

In a recent seminar hosted by APARC’s Southeast Asia Program, “Militarization Overlooked: Rethinking the Origins of Indonesia’s New Order, 1950-1965,” Joshua shared his insights into the complex phenomenon of militarization within Indonesian society, spanning from the tumultuous post-independence era to the present day. Through a historian's lens, he traces the origins of militarization and its far-reaching impacts on political, social, and cultural dynamics in Indonesia.

An Environment Conducive to Militarization

At the heart of this narrative lies the period following Indonesia's revolutionary struggle and independence from Dutch colonial rule. Scholars have portrayed the 1950s favorably as a time when Indonesia embarked on an experiment with liberal and constitutional democracy. Joshua, however, argues that, instead of heralding an era of stability and democratic governance, “the post-revolutionary landscape was fraught with underdevelopment, persistent conflict, and political instability.” This environment provided fertile ground for the gradual militarization of Indonesian society, as the military sought to quell armed groups and revolutionary violence.

"In essence, my current project is an endeavor to write

Teaching communication and values

Besides being a writer, Andina teaches at the School of Communication of Atma Jaya Catholic University. This job lets her talk to many young people, with lots of opportunities to inspire them.

“I teach about media, and share my experience in journalism. I want my students to think that they can be more than they are now. The key is to get them interested and curious. They are busy with their social media and there are many issues they miss out on, like the challenges of our minority groups, issues of freedom of speech and justice, which are important to our society. My goal is to get them to do something with what they learn, to make a difference."

Andina has learned to adapt her teaching style to her audience, to start with examples, ask questions, and provide challenges. For one of the subjects, her students have to develop online campaigns for a cause they care about. They came up with new ideas, like stacking up their phones when meeting among friends over coffee, so that they can actually talk, and agreeing that the first one to reclaim their phone will be the one to pay the bill. Another student singled out how media influence the way women think about their body. 

“I tell the students that what they learn in college will come back to them in their career, where they will make choices based on the values they embrace and stand for. It will be their call then. My message is that they have to contribute something good to society!"

She underlines how values and communication skills are the core of leadership, and shares how she learned to develop her thought leadership by writing opinions for various media like the Jakarta Post, Prisma journal, and TheConversation.com.

“I want to make a difference by offering alternative ways of thinking, and inspiring readers that they can do something to make things better. In comparison, my fiction writing is more like a playground for me, to explor

By Ahmad Mashadi

Zai Kuning: I would like to respond to Goh Kasan and Sasi [T. Sasitharan] and Susie [Wong]. Just wanted to say something about ‘who is an artist’. Because it seems like when you say an artist’s responsibility is towards himself and the ‘other’, my understanding is that we are responsible for everything, humanity and humility. When I was a student ten years ago, I read about Joseph Beuys who said that everyone is an artist. And that is the most revolutionary thinking about who we are — whatever we do is an artwork. You peel an orange, you make things, you are an artist. When I was in Bali, I thought that that idea is new. Then I read the writings of an old poet in Bali, he said that everybody is an artist in Bali because you sing, you carve, you work. Perhaps the person who said this in Germany probably read about this Bali poet. So the notion of artist now, well, it’s people who have got to be responsible — don’t say you’ve got to do this, you’ve got to do that. Professor Eddie Kuo said that clear water cannot breed fish, this may be so, but artists can survive. It’s just as simple as that.

Space, Spaces and Spacing, The Substation Conference, 1995 (1)

The above quote requires explanation. The late-1980s and early-1990s were crucial in Zai’s formative years as an artist. In Singapore, the decades saw efforts to broaden conceptual and formal interests, as artists sought fresh approaches in articulating the artistic productions and their reception.

Zai formed part of a generation of early graduates from LaSalle College of the Arts (established in 1986), who are instrumental in transforming, and in their impact on, successive developments in Singapore. He affiliated himself with the influential Tang Da Wu (b. 1943), a performance artist who permanently returned to Singapore in the late-1980s from London, and together with a group (2) of young artists formed The Artists Village, a communal space se