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"Aku adalah orang asing yang belajar di sini. Meskipun aku bicara bahasa selancar mereka, bekerja dengan mereka, bercanda dan tertawa akan hal-hal yang juga lucu bagi mereka, aku tetap orang asing. Mereka yakin, orang asing selalu kesulitan menyesuaikan diri. Selalu berbicara dengan logat yang berwarna. Selalu dimaklumi jika salah, atau bahkan selalu dianggap salah. Selalu mendapat nilai tambahan sebagai pemakluman karena nilai kami tidak bisa disamakan dengan nilai orang sini.” — Kisah-kisah dalam buku ini adalah potret para pendatang di Jerman. Mereka menghadapi kehidupan serbasulit dan tidak memiliki kesempatan berkompetisi secara adil. Di sisi lain, banyak juga yang kerap mendapatkan pemakluman sebab dianggap lemah dan warga kelas dua yang tidak menjadi masalah bila sesekali salah. Ketika dunia sudah tanpa pagar, mengapa kemanusiaan masih harus dipagari warna kulit, etnis, dan asal negara."

"Penelitian ini bertujuan untuk melihat perbedaan dari film pendek HANA yang diadaptasi dari cerpen “Hana” karya Akutagawa Ryunosuke dan mengaitkannya dengan kondisi sosial budaya masyarakat Jepang pada saat film pendek HANA diproduksi. Penelitian ini akan menggunakan teori adaptasi dari Linda Hutcheon (2006) dan konsep Beauty Myth dari Naomi Wolf dengan metode analisis teks dari sudut pandang feminisme. Dari hasil analisis tersebut, ditemukan bahwa sekalipun tokoh utama dalam cerpen Hana dan film HANA sama-sama tidak puas dengan bagian tertentu dari tubuhnya, tetapi ada dua perbedaan yang mencolok, yaitu deskripsi tokoh protagonis dan masalah yang menimpanya. Dalam cerpen Hana, protagonis adalah pendeta laki-laki dengan permasalahan hidung panjang, sedangkan dalam film pendek HANA, protagonis adalah gadis SMA dengan permasalahan payudara kecil. Ditemukan juga adanya suatu standar kecantikan ideal yang mengikat tubuh perempuan di Jepang, khususnya payudara, sehingga perempuan tidak memiliki kuasa akan tubuhnya sendiri. Jika dikaitkan dengan berbagai permasalahan mengenai payudara kecil yang terjadi di Jepang, film ini dapat dimaknai sebagai refleksi terhadap standar kecantikan berdasarkan norma patriarki yang masih membebani perempuan di Jepang.Kata kunci: Cerita pendek; Hana; Payudara kecil; Kecantikan ideal; Adaptasi; Feminisme

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This study aims to find differences from the short film HANA which was adapted from the short story “The Nose” by Akutagawa Ryunosuke by linking it to the Japanese socio-culture condition when this short film was produced. This study will use adaptation theory from Linda Hutcheon (2006) and the Beauty Myth concept from Naomi Wolf with textual analysis method from feminism perspective. From the results of the analysis, there were similarity between the protagonists, both of them were dissatisfied with certain parts of their bodies, but there were also two major differences, the description of protagonists and the problems they have. In The Nose, the protagonist is a male monk with a long nose as his problem, meanwhile in short film HANA, the protagonist is a high school girl with small breasts as her problem. There’s also an ideal beauty standard that binds the females’ bodies in Japan, especially breasts, which make females don’t have power over their own bodies. Linked to various problems regarding small breasts that occur in Japan, this film can be interpreted as a reflection of beauty standard based on patriarchal norms which still burdening females in Japan.

Keywords: Short story; The nose; Small breasts; Beauty ideal; Adaptation; Feminism"

"Seribu Kisah; Sebuah Kasih adalah buku hasil kurasi Menjadi Manusia, berisi 150 kisah tentang sepasang, hubungan, serta ikatan cinta antarmanusia yang tidak lebih dari 150 kata."

"The three plays translated in this volume, Time Bomb, Cockroach Opera, and Julini’s Opera, share the same setting and cast of characters. Through their songs, colloquial language, and raunchy humor, they illustrate a blending of the energy of indigenous folk expression and the style of a Western musical. The mixture creates a kaleidoscopic presentation likely to appeal to sophisticated urban audiences but these plays, with their graphically literal representation of the dark “underside” to elite prosperity, subvert rather than affirm middle class assumptions. On the set of Time Bomb, directly below the chairs of a group of oblivious restaurant diners, sits a slum on the banks of a fetid canal where the victims of Jakarta’s transformation into a rich urban center play out their struggle with life. The diners, representing government officials whose role it is to clear the slums, are depicted as corrupt, weak, and hypocritical individuals who are constantly uttering fatuous statements. Meanwhile, the speech and action of the slum-dwelling “cockroaches”—prostitutes, transwomen, and thugs, as well as hardworking newcomers to the city—is tough, lively, and down-to-earth. For all their humor and fun, however, these plays are not “mere entertainment,” but rather purveyors of a stinging critique of the social injustice found in the “real world” just outside the theater doors."

"The six plays in this collection by Ikranagara (1943–2023) were written and performed by his theater company Teater Saja (“Simply Theater”) between 1975 and 1997 during Indonesia’s New Order era (1966–1998) when freedom of speech was severely curtailed under the autocratic rule of President Soeharto. The New Order regime was plagued by corruption, collusion, and nepotism with widespread allegations of government officials engaging in illicit activities for personal gain."