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"Sastra dari luar, misalnya dari India, Persia, dan Cina telah lama masuk ke ranah sastra Indonesia, bahkan juga menjadi bagian dari sastra Jawa, misalnya Mahabarata, Ramayana, dan Baratayudha (dari India), Menak, Ambiya, Yusup dari Persia, serta Sam Pek Eng Tai dan Sin Jin Kui dari Cina. Kehadiran (naskah-naskah) sastra tersebut dilakukan melalui perpindahan penduduk ke luar daerah asalnya (migrasi) sambil membawa serpihan kekayaan budaya mereka. Di negeri singgahnya, biasanya, mereka beradaptasi dengan saling menunjukkan kebudayaan masing-masing, yang selanjutnya teradaptasi di negeri baru itu. Perjalanan budaya semacam itu dapat terjadi juga pada abad modern ini, misalnya kehadiran guritan karya Noriah Muhammed dan puisi karya Si Zainon Ismail (keduanya dari Malaysia). Perpindahan sastra Jawa (dan Indonesia) keluar negerinya juga melalui perpindahan penduduk atau migrasi, tetapi ada perbedaan pada latar belakang yang mendasarinya karena kondisi dan konsep bernegara masa kini lebih bersistem, yang tidak memungkinkan migrasi secara mudah, dan atau mengajarkan kebudayaan negeri asal secara bebas pula."

"In the Dutch colonial literature of the mid nineteenth century, the njai (Asianconcubine) is the symbol of degeneration and of undermining colonial society inthe Dutch Indies. Opposed to this portrayal, in Malay literature the image of thenjai is on the whole positive: she is faithful and loyal to her partner, intelligent,and economical. However, she easily falls victim to external powers, which isoften the masculine power of the society she belongs to. In many Malay textsshe is represented as ready to fight back, primarily for the sake of the future ofher offspring(s) or herself. Sometimes she succumbs, sometimes she triumphs.Examples can be found in texts like Tjerita Njai Dasima (1896), Tjerita Nji Paina(1900), Seitang Koening (1906), Hikajat Raden Adjeng Badaroesmi (1901-1903), TjeritaNjai Isah (1904), and Boenga roos dari Tjikembang (1927). These texts represent are-evaluation of the njai and stand in opposition to nineteenth century Dutchcolonial literature"

"Produksi sastra populer mengikuti selera masyarakat luas. Oleh sebab itu, sastra populer seringkali mengalami perubahan seiring dengan perubahan selera masyarakat. Pada tahun 2009, terbit novel populer yang menggunakan latar tempat kota di luar negeri. Setelah itu, mulai bermunculan novel-novel lain dengan latar tempat luar negeri. Bahkan, lokasi luar negeri bukan hanya muncul sebagai latar, melainkan juga sebagai judul novel. Dengan demikian, permasalahan dalam penelitian ini yaitu bagaimana penggunaan latar luar negeri dalam sastra populer. Penelitian ini bertujuan untuk mengungkapkan karakteristik tren latar tempat luar negeri dalam novel populer pada periode 2009-2016. Untuk mencapai tujuan tersebut, penelitian ini menggunakan metode deskriptif analitik dan pendekatan sosiologi sastra. Objek kajian dalam penelitian ini adalah novel Winter in Tokyo (2008) karya Ilana Tan, Paris: Aline (2013) karya Prisca Primasari, dan Love in Marrakech (2016) karya Irene Dyah.Popular literature production will always follow the direction of publics preference. Therefore, popular literature will always transform along with the shifting of publics preference. On 2009, an Indonesian popular literature with an overseas setting was published. Afterwards, other novels with overseas setting began to emerge. The use of overseas setting became a trend in Indonesian popular literature. Overseas location was not only used as the story setting, but also as title of the novel. This research discusses how overseas setting was used in Indonesian popular literature. The objective of this research is to signify the characteristic of overseas setting trend in Indonesian popular literature for the period of 2009-2016. This research is using sociology of literature approach and descriptive analytics method. The object of study of this research are Winter in Tokyo (2008) a novel by Ilana Tan, Paris: Aline (2013) a novel by Prisca Primasari, and Love in Marrakech (2016) a novel by Irene Dyah."

"This study attempts to discuss the offensive policy taken by Partai Komunis Indonesia (Indonesia Communist Party) i cultural sphere, especially in film during the period of Demokrasi Terpimpin (1957-64). One of the implementation of the policy was the decision to stop the circulation of two films, Pagar Kawat Berduri and Anak Perawan di Sarang Penyamun, written by Asrul Sani and Usmar Ismail. By analyzing various written and audiovisual sources. This study concludes that the reason were more political. Film was not seen as a form of art, but was suspected as a threat to the political power of the party"

"What is meant by contemporary literature? The first thing that comes up in mind is that the terminology of contemporary literature points out to ?literature that is new? or ?literature that is very recent?, and constitutes a new trend lastly in touch with public. With this, contemporarity might possibly be seen or measured on the basis of time frame. In China, contemporary literature is not measured merely by the most recent time and the changing literary trend in a certain period of time, it is apparently not free from the political influence of the goverment in power. Political guidance issued by the goverment in a certain period, will define the change in the literary trend in China. Uniquely, the literary trend in a certain period not merely brings out certain themes, but also followed by a great deal of literary works representing the emerging literary trend. In China, by reading a literary work, one will easily be able to detect when that kind of literary works approximately emerged, and who were the authors producing that works."

"Manuscripts are not supposed to be something unknown to the public and possessed by limited circle of people. Manuscripts are cultural heritage of a nation the content of which reflects the ideas, knowledge, tradition, and the patterns of behavior of the past society. As such they can be of use to different segments of society. This paper discusses the benefits of manuscripts to the efforts of reconstructing Islamic intellectual history in Indonesia by studying the case of local manuscripts in the Minang region. These manuscripts are not only the products of a writing tradition that had developed strongly in the Minangkabau society, but also a reflection of the living tradition of the society."