Suchergebnisse

The goal of this study is revealing the stylistic elements found in the novel entitled Sirkus Pohon by Andrea Hirata, preceding by describing the relationship between structural elements. The research method is a qualitative method with descriptive analysis based on structural theoretical concepts and stylistics. The results of the study shows that the structural elements in the novel Sirkus Pohon have a relationship between one to other element namely title, theme, character, conflict, and setting. All these five elements form the wholeness of the story. In the field of stylistics, the aesthetics of the story can be obtained from the language potentiality namely diction, sentence style and figurative language. The figurative language created by the writer are metaphor, sentence style, and personification. The potential language used by Andrea Hirata cannot be separated from the sociocultural context and also the sleight of the writer. The writer presents an intellectual figure, whereas the contextual society is a traditional and poor. It twitters people of Malay in the inland Belitung who still innocence but full of intrigue. In this novel, the appearance of pomegranates is related to the problems of love, traditional beliefs, the revival of the traveling circus, and political issues. The author expresses the traditional beliefs contradicting to the author's logic or intellect.

In a dominant patriarchal culture, women are considered lower than men in many aspects such as education, politics, workplace, and the sexuality discourse. This article shows the representation of women who symbolize her resistance which is reflected in the novel entitled Jalan Panjang Menuju Pulang by Pipiet Senja. It is used qualitative method supported by descriptive analysis on the basis of theoretical of radical feminism. The results of the study show that woman (Fatin) is subjugated by men. There are physical violence, psychological violence, and also domestic violence which happened to Fatin. Hans did Sexual harassment, while sexual violence done by Frankie. Meanwhile her husband ,Rimbong, threat her and hit her. Fatin suffers psychic and also physical violence. This spouse fought for the custody right. This research discuss about how Fatin showing her resistance to the domestic violence and sexual violence. In her apartment, Fatin dares to scuffles then reports Frankie to the police. She also reveals her resistance by hiding away her child when her husband will take her child.

The absence of government policy in supporting the creative industry practice is a factor inhibiting the development of performing arts in Banyuwangi. Diverse local performing arts which if managed properly can become a crutch for the emergence of creative economy. This study aims at describing the struggles of women in the tradition arts and in conceptualizing a creative industry model ba-sed on performing arts. The study employed ethnography. The field data were obtained through interviews with the informants. The interpretation of data used a combination of tradition arts, gender, cultural studies, and creative industry perspectives. The results showed that women of tradition arts in general do not rely their livelihoods on art activitiy. They keep trying to develop creative know-ledge embodied in art creation and innovations. Arts institutions have a develop-ment program to maintain quality. The role of the government is manifested in the forms of policies, facilities, activity forums and infrastructural development. The development of Banyuwangi-style performing arts within the framework of the creative industry can support the realization of the creative economy.Copyright (c) 2015 by KARSA. All right reservedDOI: 10.19105/karsa.v23i1.610

The absence of government policy in supporting the creative industry practice is a factor inhibiting the development of performing arts in Banyuwangi. Diverse local performing arts which if managed properly can become a crutch for the emergence of creative economy. This study aims at describing the struggles of women in the tradition arts and in conceptualizing a creative industry model ba-sed on performing arts. The study employed ethnography. The field data were obtained through interviews with the informants. The interpretation of data used a combination of tradition arts, gender, cultural studies, and creative industry perspectives. The results showed that women of tradition arts in general do not rely their livelihoods on art activitiy. They keep trying to develop creative know-ledge embodied in art creation and innovations. Arts institutions have a develop-ment program to maintain quality. The role of the government is manifested in the forms of policies, facilities, activity forums and infrastructural development. The development of Banyuwangi-style performing arts within the framework of the creative industry can support the realization of the creative economy.Copyright (c) 2015 by KARSA. All right reservedDOI: 10.19105/karsa.v23i1.610