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"Penelitian ini mengkaji perwatakan tokoh dalam kumpulan cerpen Pacar Seorang Seniman karya W.S Rendra. Metode yang digunakan pada penelitian adalah metode kualitatif dengan pendekatan psikologi sastra dengan menggunakan teori psikoanalisis Sigmund Freud dan Five Stage of Grieving Elisabeth Kübler-Ross. Pendekatan tersebut digunakan untuk menganalisis bentuk mekanisme pertahanan diri yang dilakukan para tokoh dalam tujuh cerpen dengan temapatah hati dalam hubungan romantis. Penelitian ini bertujuan untuk menjelaskan perwatakan tokoh sebelum mengalami patah hati, penyebab patah hati yang dialami tokoh, tahapan berkabung yang dialami para tokoh, dan mekanisme pertahanan diri para tokoh dalam melewati peristiwa patah hati. Hasil analisis menunjukkan adanya persamaan dalam perwatakan tokoh sebelum peristiwa patah hati dan penyebabnya. Perbedaan para tokoh dalam melalui tahapan berkabung dalam melalui peristiwa patah hati dipengaruhi oleh mekanisme pertahanan diri yang dilakukan.

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This study examines the character of the characters in the short story collection Boyfriend of an Artist by W.S Rendra. The method used in the research is a qualitative method with a literary psychology approach using the psychoanalysis theory of Sigmund Freud and the Five Stages of Grieving Elisabeth Kübler-Ross. This approach was used to analyze the form of self-defense mechanisms carried out by characters in seven short stories with the theme of heartbreak in romantic relationships. This study aims to explain the character's character before experiencing heartbreak, the cause of the heartbreak experienced by the characters, the mourning stages experienced by the characters, and the self-defense mechanisms of the characters in going through the heartbreak. The results of the analysis showed similarities in the character traits before the heartbreak and its causes. The differences of the characters in going through the stages of mourning through the event of heartbreak are influenced by the self-defense mechanisms carried out."

"In this article, the author assumes that the clear-cut distinction between modern and traditional arts is merely a form of scientific construction which needs to be re-examined. The political, social and cultural problems underlying the development of modern art, in particular in developing countries are quite different from those in Euro-American countries. Therefore, the artistic expressions are also different and cannot be analyzed in terms of aesthetical standard as developed in the West. The author provides evidences that the modern art in Indonesia has its own discourse. An intensive dialogue' between the traditional and the modern elements is going on. Three cases drawn from three artists are discussed in this article as the example of the ongoing dialogue."