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"This paper, based on the text of the Jakarta MS C. St. 125 published by Lukman Ali and M.S. Hutagalung (1996), shows by a comparative reading of selected samples of war-episodes in the hikayat, that, in spite of the countless differences between them, all ultimately tell one and the same underlying story. This story is in each war-episode retold in a process of constant variation within identity. This is done by combining “pre-fab” units that each form a slot in an already predetermined narrative structure. Each of these slots is filled with a selection of type-scenes, made from the particular string of type-scenes that is available for that particular slot. In order to shed light on the question where the hikayat’s author may have found the models and inspiration for its composition, the numerous intertextual echoes of Javanese and Malay literary genres and individual works audible in these war-episodes are also traced."

"ABSTRAKSkripsi ini membahas metafora yang menggambarkan karakter Hang Tuah dalamHikayat Hang Tuah. Sumber data penelitian berupa kutipan-kutipan yang disaringmelalui pengklasifikasian teknik pelukisan tokoh Burhan Nugiyantoro (1998).Penelitian ini menggunakan teori metafora yang dikemukakan George Lakoff danMark Johnson (1980). Hasil penelitian menunjukkan bahwa metafora yangdipakai merupakan metafora dari ranah sederhana seperti ranah anggota tubuh,bagian dari rumah, rasa, percintaan, permainan, warna, dan peternakan. Sifat-sifatHang Tuah yang ditemukan menunjukkan bahwa Hang Tuah merupakanrepresentasi manusia Melayu dengan nilai-nilai Melayu yang santun dan rendahhati. Ia juga dapat disebut pahlawan Melayu karena keberanian, pengorbanan,setia, dan baktinya pada raja dan negerinya. Namun, sebagai seorang pribadi, iajuga memiliki kelemahan.

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ABSTRACTThis undergraduate thesis discuss about the metaphor that describe the characterof Hang Tuah in the Hikayat Hang Tuah. Selected quotations as the data sourcesfor the research were filtered through the classification of character portrayaltechnique by Burhan Nugiyantoro (1998). This research use metaphor theory byGeorge Lakoff and Mark Johnson (1980). Result of the research shows that thedomain of the metaphors used in the story come from simple domain such as;body parts, house parts, taste, romance, game, color, and livestock. It is found thatHang Tuah’s character represents Malay people with their values; well manneredand humble. Hang Tuah also known as Malay hero because of his bravery,sacrifice, loyalty, and devotion to the King and the country. However, as a person,he also has weakness."

"Suasana yang dibentuk oleh pasar seni rupa Indonesia mengakibatkan munculnya permasalahan subyektifitas. Empat pelaku utama dalam pasar seni rupa yaitu seniman, kolektor, pihak galeri dan pihak balai lelang, Penulis menganggap keempatnya tidak berjalan pada jalur yang seharusnya sehingga hubungan antara sebuah karya seni dengan penikmat dan bahkan seniman yang membuatnya menjadi berjarak. Lewat analisa historisitas yang dibangun Fredric Jameson, tulisan ini memperlihatkan hubungan antara subyek yang tidak berhasil membangun narasi historis dengan sistem pada pasar seni rupa Indonesia yang menciptakan seniman tanpa identitas personal dalam karyanya, munculnya konsumen-konsumen schizophrenic yang memiliki lukisan hanya karena hasrat, serta pihak galeri dan rumah lelang yang terjebak arus kapitalisme. Kondisi ini membuat produk estetis berubah menjadi produk komoditas.

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Atmosphere created by the Indonesian art market result in the emergence of the problem of subjectivity. The four main actors in the art market are artists, collectors, galleries and the auction side. The authors consider that the four main actors are not running on the track so that the relationship between a work of art with the audience and even the artist who made it is. Through analysis of the historicity by Fredric Jameson, this paper shows the relationship between the subjects who failed to build a historical narrative with the system on the Indonesian art market that creates an artist without a personal identity in them works, the emergence of schizophrenic consumers who have a painting just because it desires, as well as the galleries and auction houses are stuck in currents capitalism. These conditions make the product aesthetically turned into a commodity product."

"Skripsi ini menyajikan suntingan teks dari naskah berkode Cod. Or. 1758 yang berjudul Hikayat Salman Al Farisi (HSAF). Metode yang dipakai untuk menyajikan suntingan teks dalam penelitian ini adalah metode edisi kritis untuk naskah tunggal. HSAF merupakan naskah yang disalin oleh Muhammad Daim pada tanggal 3 Desember 1825. Penelitian ini juga membahas HSAF sebagai karya sastra Islam. Hasil penelitian ini menunjukkan bahwa HSAF merupakan sastra Islam yang di dalamnya terkandung ajaran-ajaran dalam agama Islam.

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This thesis presents the text editing from manuscript that has code Cod. Or. 1758 and titled Hikayat Salman Al Farisi (HSAF). The method that utilize to present the text editing in this research is method of critical edition for single manuscript. HSAF is a manuscript which was copied by Muhammad Daim on 3rd December 1825. This research also discusses about HSAF as an Islamic literature creation. The result of this research shows HSAF is an Islamic literature which contains the lesson of Islam"

"ABSTRAKPermasalahan segregasi rasial yang memisahkan orang kulit putih dan kulit hitam yang mengemuka di Amerika pada tahun 1960-an masih saja didiskusikan hingga saat ini dalam berbagai sektor kehidupan termasuk dalam karya sastra. The Help 2009 memperlihatkan hubungan perempuan beda ras yang harmonis di Amerika berlatar periode tersebut. Perbedaan gambaran ini menarik untuk diteliti lebih lanjut. Tesis ini mencermati konstruksi sisterhood antar ras dengan mencermati struktur narasi, khususnya fokalisasi yang digagas oleh Mieke Bal 1999 . Selain itu, pemahaman konsep sisterhood oleh bell hooks juga digunakan dalam tesis ini. Hasil penelitian menunjukkan bahwa teks menawarkan bentuk sisterhood baru yang mewadahi semua perempuan sebagai alternatif dari bentuk sisterhood sesama ras. Meskipun teks mengusung nilai kesetaraan, masih terlihat keberpihakan teks terhadap kulit putih yang menunjukkan bahwa teks tidak terlepas dari zamannya. Teks membawa ide kontemporer pada konteks 1960-an sehingga pada akhirnya terlihat bahwa perbedaan warna kulit memang tidak dapat diterima baik pada komunitas kulit putih maupun kulit hitam.Kata Kunci : Fokalisasi, Hubungan Perempuan, Segregasi Rasial, Sisterhood.

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ABSTRACT The issue of racial segregation that separated black and white people, which highlighted the life in America during 1960s, is still being discussed on various sectors of life including in literary works. The Help 2009 shows the harmonic relationship between women with different races in America on that period of time. This perspective is interesting to be analyzed. This thesis analyzes the construction of sisterhood between races using narrative structure, especially focalization initiated by Mieke Bal 1999 . In addition, an understanding of sisterhood concept by bell hooks is also used in this thesis. The results show that the text offers a new form of sisterhood that accommodates all women as an alternative from the form of the previous existing sisterhood. Although the text carries the value of equality, the text tends to take side to the white people which shows that the text is inseparable from its period. The text carries contemporary ideas in the 1960s context so it is certain that skin color differences are unacceptable to both white and black communities. Keywords Focalization, Racial Segregation, Sisterhood, Women rsquo s Relationship"

"Literary and epigraphic references to the figure of pañji in Old Javanese texts are analysed, and contextualised with much better known references to the figure of Pañji in Middle Javanese texts. A hypothesis is offered that Old Javanese term pañji is best rendered as 'court-name’. It is argued that young boys from elite families obtained their familiar court-name (pañji) at the very onset of their career at the court, where they served as pages and attendants of the royal family. They were also trained in arms, religious lore, and arts. Being since their childhood close to the king, they were trusted persons, and some of them made careers as high-ranking court officials, such as Dəmung or Kanuruhan. Others, denoted ācārya, were trained as 'masters of divine weapons’, Tantric ritual specialists, who were in charge of the so-called 'divine weaponry’ (diwyāstra), mantra-infused ordinary weapons, an arsenal well-known in Old and Middle Javanese texts. Vestiges of this ritual lore have survived in Java until modern times."