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Abstrak :
Beberapa literatur terbaru mengungkapkan bahwa saat ini konsumsi conspicuous tidak hanya mencakup barang-barang terlihat (visible good) saja, melainkan juga barang-barang tak terlihat (invisible good), yang sebagian besar merupakan kebutuhan dasar individu. Konsumsi conspicuous sangat erat kaitannya dengan ketimpangan pendapatan dan karakteristik regional seperti etnis dan agama, namun penelitian antara ketiga variabel ini masih sangat terbatas, terutama di negara-negara berkembang. Indonesia memiliki ketimpangan pendapatan yang cukup tinggi serta keberagaman etnis dan agama yang sangat luas, sehingga akan sangat mempengaruhi bagaimana share dari konsumsi conspicuous rumah tangga. Penelitian ini menggunakan data pooled konsumsi rumah tangga yang disediakan oleh BPS dari tahun 2017 sampai dengan 2018. Dengan metode 2SLS, hasil penelitian ini menemukan bahwa (1) ketimpangan pendapatan tidak memiliki pengaruh, tetapi kedua variabel karakteristik regional berpengaruh secara positif dan signifikan terhadap share konsumsi conspicuous untuk visible good dan (2) ketimpangan pendapatan dan kedua variabel karakteristik regional berpengaruh secara negatif dan signifikan terhadap share konsumsi conspicuous untuk invisible good ......The latest literature reveals that currently conspicuous consumption includes not only visible goods, but also invisible good, which are mostly basic individual needs. Conspicuous consumption is closely related to income inequality and regional characteristics such as ethnicity and religion, however research between these three variables is still very limited, especially in developing countries. Indonesia has a fairly high income inequality as well as a very wide ethnic and religious diversity, so that it will greatly affect how the share of conspicuous household consumption is. This study uses pooled household consumption data provided by BPS from 2017 to 2018.With the 2SLS method, the results of this study find that (1) income inequality has no effect, but the two regional characteristic variables have a positive and significant effect on consumption share conspicuous for visible good and (2) income inequality and the two regional characteristic variables have a negative and significant effect on the share of conspicuous consumption for invisible good.

Abstrak :
ABSTRAK
Tesis ini bertujuan untuk memperlihatkan konstruksi relasi kuasa dalam novel Lengking Burung Kasuari LBK, 2017 karya Nunuk Y. Kusmiana. Novel LBK memperlihatkan terpinggirkannya orang Papua akibat pandangan rendah yang didasarkan pada atribut, ciri fisik, dan perilaku orang Papua, yang berujung pada dominasi pendatang di tanah Papua. Dengan menggunakan konsep stereotyping, relasi kuasa Pierre Bourdieu, dan semiotika Roland Barthes, orang maupun wilayah Papua dalam LBK dipandang sebagai objek, liyan, primitif, terbelakang, tradisional, miskin, dan terisolasi. Orang Papua juga digambarkan inferior karena hanya memiliki satu kapital, sementara pendatang memegang kapital simbolik yang mencakup tiga kapital lainnya; kapital budaya, sosial, dan ekonomi. Meski demikian, LBK memberi ruang bagi orang Papua untuk melakukan resistensi dengan cara mencibir dan mengusik kehadiran pendatang melalui peyebaran mitos. Kehadiran tokoh anak, Asih, turut membantu pihak Papua melakukan resistensi dengan cara membalik stigma negatif atas Papua dan menjadi penengah di antara pendatang dan pihak Papua. Kemunculan tokoh ini memperlihatkan kemungkinan runtuhnya dominasi di Papua.Kata Kunci: dominasi, Papua, relasi kuasa, resistensi, stereotip.

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ABSTRACT
This research aims to describe power relation in Lengking Burung Kasuari novel LBK, 2017 by Nunuk Y. Kusmiana. The novel shows that Papua characters are marginalized because of subordinate opinions based on Papuan people rsquo s attribute, physical characters, and behavior. By employing stereotyping concept, Bourdieu rsquo s power relation, and Barthes rsquo semiotics, Papuan characters and territory are regarded as an object, others, and primitive, isolated, poor, traditional, and underdeveloped people. Papuan characters of the novel are depicted as inferior because they only have one capital while comer characters have symbolic character consisting of three other capitals cultural, social, and economical capitals. Nevertheless, Papuan people in the novel are given space to perform resistance by teasing comers rsquo attendance through spreading myths. Papuan rsquo s capital becomes their capital resistance represented in the form of scorn on comers. The presence of child main character, Asih, helps Papuan perform their resistance. Asih is depicted as having ability to reverse negative stigma to Papua, aspirate Papuan rsquo s hope, and mediate between comers and Papuan who always contradict. In the novel her presence shows any possible collapse of domination in Tanah Papua.Keywords domination, Papua, power relation, resistance, stereotype.

Abstrak :
This article examines domestic and international critiques of the literature of the Vietnamese-language writer Khái Hưng, who was active from the French colonial period to the eve of the Indochina War. It then explores changes and continuities in Vietnamese literary criticism in light of changes in the nation’s cultural policies. Khái Hưng was one of seven members and the most prolific writer of the Self-Reliant Literary Group, founded in 1933 in Hanoi. In 1941 he was arrested by the French for anticolonial activities. Following World War II, he supported the Vietnamese Nationalist Party as an editor of the Party’s newspapers. In 1946 he was captured by the Communist-led Việt Minh, and in 1947 he was executed. On the grounds that he was involved in the Party against the Việt Minh and was purged by the Việt Minh, few serious studies have been conducted on Khái Hưng despite his stature as a leading writer in the 1930s and 1940s. Although former South Vietnamese scholars recognized the importance of Khái Hưng’s late works, they had to start by collecting these materials, which had been scattered due to national division and war; also, South Vietnamese students of literature tended to prefer the study of foreign literature to domestic literature. After the fall of the former South Vietnam, those who fled abroad as refugees had to start earning a living from scratch. Therefore, few of them studied literature at academic institutions, and little serious research was conducted on Khái Hưng, including his activities in the latter years of his life. However, as Đỗ Lai Thúy points out, avoiding such “sensitive issues” in Vietnam makes it difficult to truly understand the country. This paper carefully traces the treatment of the literature created by Khái Hưng, who was recognized as a “sensitive issue.” At the same time, it attempts to dismantle the formula that was constructed with the rise of social realism: romanticism=bourgeoisie=decadence=reaction, which has become a simplified and somewhat established theory in Vietnamese literary history since Khái Hưng’s death. Focusing on a specific writer reveals the complex ways in which the cultural policies of a war-torn nation were operationalized at the civilian level.