Hasil Pencarian  ::  Simpan CSV :: Kembali

"ABSTRAKPenelitian ini merupakan telaah terhadap konstruksi identitas berdasarkan subjektivitas dan agensi yang diberikan pada tokoh Lupus dalam empat buku serial Lupus yaitu 1) Interview with the Nyamuk, 2) Mission Muke Tebel, 3) Gone with the Gossip dan 4) The Lost Boy. Seral Lupus dipilih karena serial ini merupakan bacaan remaja yang digemari remaja dan mampu bertahan lama di pasaran. Fenomena ini menimbulkan pertanyaan perihal bagaimana identitas Lupus dibentuk, dan apa dan bagaimana keterkaitannya dengan kondisi sosial-budaya saat karya tersebut diciptakan.Pertanyaan tersebut dijawab melalui analisis teks dan kajian budaya. Analisis teks mengidentifikasi adanya posisi Lupus sebagai subjek dan agen pada tepian tiga konteks yaitu kelas sosial, etnisitas dan gender yang melahirkan posisi-antara bagi Lupus. Melalui posisi-posisi diantara kelas atas dan kelas bawah, tepian dunia global dan dunia lokal juga di tepian maskulinitas kelaki dewasa, Lupus dikembangnkan menjadi identitas yang mudah diterima oleh remaja kebanyakan dan disukai juga dikagumi karena keberhasilannya mendekati pusat-pusat konteks yang secara umum didambakan oleh para remaja. Keberhasilan Lupus bergerak sangat ditentukan oleh perilaku keberaksaraannya (kegemaran membaca dan menulis), kemampuan berbahasa Inggris dan perilaku cuek yang mengejawantah dalam sikap berani mencoba dan tak takut gagal.Walaupun demikian, Lupus sebagai teks bukanlah teks yang kritis karena kecenderungannya untuk mengukuhkan budaya dominan. Keberhasilan Lupus pada posisi antara itu dikontraskan dengan ketersisihan kelas bawah, etnis lokal, dan perempuan sehingga identitas Lupus mencuat di antara para remaja ini. Ngocol sebagai identitas Lupus yang menonjol memperkuat identitas Lupus di posisi antara, da, pada saat yang sama, menjadi identitas teks Lupus karena kengocolan yang hadir terutama menunjukan peran pencerita yang ngocol secara signofikan daripada peran tokoh Lupus. Ngocol sebagai kekhasan dan kekuatan Lupus dapat dikatakan sebagai identitas Lupus yang menjadi ideologi teks karena kehadiran ngocol dalam setiap peristiwa dalam Lupus diterima sebagai kewajaran walaupun pembacaan kritis terhadap kengocolan tersebut menunjukkan adanya relasi kuasa yang menyingkirkan kelompok tertentu. Ketersingkiran kelas bawah, etnis lokal dan perempuan sebagai pilihan tekstual demi kengocolan merupakan juga cerminan kondisi sosial politik masa itu. Identitas Lupus, di satu sisi, menampakkan adanya resistensi terhadap budaya dominannya tetapi, di sisi lain, ia merupakan pengukuhan terhadap budaya tersebut ketika pilihannya mencerminkan perilaku seperti umum ditemui dalam lingkungan sosialnya.

---

ABSTRACT

This is a study of identity which analyzes and interprets the construction of Lupus, an adolescent fictional character of the popular Lupus series. In particular, the sudy looks into the characters subjectivity and agency which forms the basis for the analysis of identity construction. Lupus is chosen for this study for the fact that Lupus is virtually the only popular fictional character in Indonesian Young Adult Literature for a period of more than two decades. This is the anchor for choosing this character for a study of identity construction as it poses questions as to how subjectivity and agency contribute to the construction of such a long lasting identity and how socio-cultural factors might have underpinned the construction. In addition, Lupus specific ngocol trademark character poses a set of different but related questions with regard to the role ngocol plays in Lupus identity construction and what meanings can be attributed to the role.

The questions were addressed by employing a textual analysis within the framework of narrative theory and cultural studies. For this purpose, Lupus texts were selected. The selected texts under investigation were four of the Lupus series namely 1) Interview with the Nyamuk, 2) Mission Muke Tebel, 3) Gone with the Gossipl and 4) The Lost Boy. These texts were selected for its evident relation to the context of their production as depicted in the parody titles, abd for the availability of linked short stories which should provide more possibilities for character exploration compared to individual short stories. Subjectivity and agency were traced in the narative events which constituted the linked short stories. Out of twenty two linked short stories, one hundred sixty one narrative events were analyzed and showed that Lupus subjectivity and agency were exercised from in-between positions available for Lupus in three contexts most frequently encountered. They were the contexts of the social class, ethnicity and gender. These in-between positions has enable Lupus to move fluidly along center of adulthood and childhood, upper social class and lower social class, global and local, and masculinity and femininity. These in-between positions empowered by his literacy behavior and English proficiency has established an empowering subjectivity and agency for a distinctive Lupus identity as a modern Jakarta adolescent treading his way to maturity by playing his subjectivity and agency along his chosen positions.

Ngocol as one of his more outstanding quality was disclosed as the identity of the text rather than the characters. This is evident from the narrative events which revealed ngocol framing the overall structure of the story and was enable by the capacity and agility of the narrator. However, ngocol also served as the means with which the adolescents appropriated their readings of the real world and challenged the authority of adults in the real world by ridiculing the world they lived in by way of ngocol behaviors. Ngocol is a way of laughing at the world but it is also a way of strengthening dominant positions. As in Lupus, ngocol is often a discriminate act which excludes specific groups as objects of ridicule. These exlusions indicate inner workings of the texts which reflects the living ideology of the society. "

"ABSTRAKEra Industri 4.0 tidak diragukan lagi akan menghadirkan tingkat persaingan yang tidak seimbang karena munculnya robot sebagai pekerja. Ini, tentu saja, telah meningkatkan kekhawatiran di antara manusia. Salah satu cara untuk mengatasi situasi ini adalah dengan meningkatkan kemampuan manusia dengan bantuan teknologi (yaitu, penalaan manusia). Namun demikian, meskipun metode alternatif ini dapat diterima, metode ini juga memiliki risiko sendiri karena kerentanan umumnya menyertai manusia dalam interaksi sehari-hari mereka dengan dunia dan teknologi, dan perubahan kesadaran dapat muncul sebagai konsekuensi dari interaksi ini. Oleh karena itu, untuk meminimalkan dampaknya yang berbahaya, kerangka pertimbangan etis yang tepat harus dirumuskan dengan berfokus terutama pada interaksi antara manusia dan teknologi dalam konteks ini. Untuk tujuan ini, penulis menggunakan metode pascafenomenologi Don Ihde sebagai alat analisis untuk mengungkapkan hubungan manusia dengan teknologi secara mendalam dan untuk menentukan tingkat refleksi etis dari sudut pandang ini. Ini penting karena, dalam pendekatan etika tradisional, kami tidak menganggap hubungan ini sebagai sumber penilaian etis, dan masalah etika baru-baru ini di Industri 4.0 lebih kompleks dari industri sebelumnya. Hasil penelitian menunjukkan bahwa unsur-unsur pokok yang membentuk hubungan manusia dan teknologi dapat berfungsi sebagai aspek utama dari kerangka pertimbangan etis untuk penalaan manusia di era Industri 4.0.

---

ABSTRACTThe Industry 4.0 era will undoubtedly present an unbalanced level of competition, because of the emergence of robots as workers. This, of course, has increased concerns among humans. One way to overcome this situation is to improve human capabilities with the help of technology (i.e., human enhancement). Nevertheless, although this alternative method is acceptable, it also poses its own risks because vulnerability generally accompanies humans in their daily interactions with the world and technology, and altered consciousness can emerge as a consequence of these interactions. Therefore, in order to minimize any harmful impact, an appropriate ethical assessment framework must be formulated by primarily focusing on the interactions between humans and technology within this context. For this purpose, the authors use Don Ihde's postphenomenology method as an analytical tool for revealing the human relations with technology in-depth and for determining the level of ethical reflection from this standpoint. It is important because, in the traditional ethics approach, we do not regard this relation as a source of ethical judgement, and recent ethical problems in Industry 4.0 are more complex than the previous industry. The results show that the constituent elements of human and technological relationships can serve as the main aspects of an ethical assessment framework for human enhancement in the Industry 4.0 era."

"Penulisan sastra drama di Indonesia dari masa ke masa memperlihatkan perkembangan yang selaras dengan dinamika masyarakat sebagai sumber cerita yang tidak habis-habis. Setiap zaman memiliki sastra drama kanonnya sendiri-sendiri sekaligus merepresentasikan bentuk dan isi yang mencirikan semangat zaman. Demikian pula dengan sastra drama karya Akhudiat yang dibuat pada tahun 1970-an. Karya-karyanya sebagaimana juga karya penulis lain sezaman memperlihatkan semangat bereksperimen, baik dalam segi bentuk maupun isinya. Penelitian ini membahas lima karya Akhudiat yang dibuat antara tahun 1972 hingga 1977, dengan berfokus pada dua karya, yaitu "Jaka Tarub" dan "Re" yang dipandang menampilkan pencapaian kreativitas Akhudiat. Dua pendekatan digunakan untuk menelaah karya-karya tersebut, yaitu pendekatan struktural digunakan untuk mendapatkan komposisi setiap karya sebagai wujud dari realisasi gagasan Akhudiat, dan dari komposisi itu diperoleh teknik pengaransemenan yang berpola. Pola tersebut dalam tataran struktur, yaitu pola dramatik, pola bahasa, dan pola permainan. Selain komposisi secara struktural, karya-karya Akhudiat juga mengandung unsur tekstural, berupa musik dan gerak, yang membangun dramatik secara signifikan. Di samping masalah komposisi, pendekatan intertekstualitas terhadap karya-karya Akhudiat itu untuk menunjukkan jalinan antarteks yang membangun pemaknaan di pembaca. Pola hubungan transtekstualitas pada karya-karya tersebut memperlihatkan jenis hubungan antarteks berupa intertekstualitas, paratekstualitas, metatekstualitas, dan hipertekstualitas yang diwujudkan dalam berbagai tataran baik struktur maupun tekstur.

---

From time to time, the writing of drama in Indonesian literature has shown a development which is consistent with the dynamics of Indonesian community as its inexhaustible source of stories. Every era has its disciplinary canons of literary drama on their own as well as representing the form and content that characterizes the spirit of its age. Similarly, the literary dramas of Akhudiat's which were composed in the 1970s, as well as contemporary works by other authors in the respective era, show the spirit of experimentation, both in terms of form and content.

This study discusses Akhudiat five works which were written between 1972 to 1977, with a focus on two of his works, namely "Jaka Tarub" and "Re," which are perceived as a notable achievement of Akhudiat's creativity. Two approaches are used to examine these works. Firstly, the structural approach is used to obtain the composition of each work as a manifestation of the realization of Akhudiat's ideas, from which the patterned arrangement techniques are identified. The patterns studied at the structural level are the dramatic patterns, pattern of languages, and the pattern of the game. In addition to structural composition, Akhudiat's works also contain textural elements, such as music and movement, which build up the dramatic scenes significantly. Secondly, in addition to the structural approach, intertexuality approach is used since Akhudiat's works demonstrate intertextual fabrics which further develop readers-process of meaning-making. Transtextuality relationship patterns in those works also reflect the types of intertextual relations in the forms of intertextuality, paratextuality, metatextuality, and hypertextuality which are embodied in various levels, especially structure and texture."