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Abstrak :
Penelitian ini menganalisis performa dari tim tenis nasional Australia dalam turnamen Davis Cup periode 1950-1968. Australia adalah negara yang tumbuh dengan tradisi olahraga yang kuat, salah satunya dalam cabang olahraga tenis. Pasca kemenangan dan prestasi yang ditorehkan tim nasional Australia dalam ajang Davis Cup selama periode tersebut, tenis menjadi salah satu olahraga yang populer dalam kalangan masyarakat Australia dan menjadikan atlet-atlet berprestasinya sebagai representasi dari identitas nasional Australia. Penelitian ini ditulis menggunakan metode sejarah melalui pengumpulan arsip majalah dan surat kabar sezaman yang diakses melalui situs resmi National Library of Australia seperti artikel koran dari surat kabar The Sydney Morning Herald, Age, The West Australian, dan beberapa surat kabar lainnya. Untuk sumber sekunder diperoleh dari beberapa buku karya peneliti sejarah olahraga dan politik, autobiografi dari Rod Laver dan jurnal ber-indeks SCOPUS yang diperoleh secara daring maupun luring dari Perpustakaan Universitas Indonesia, Perpustakaan Nasional Republik Indonesia. National Library of Australia, dan portal informasi lainnya. Dari penelitian ini dapat disimpulkan bahwa keterlibatan tim nasionalAustralia dalam Davis Cup periode 1950-1968 membawa dampak yang signifikan terhadap identitas nasional Australia sebagai Sporting Nation. ......This research analyzes the performance of Australian national team in Davis Cup tournament since 1950 until 1968. Australia is a nation that had strong ties with sport in their tradition, especially tennis. After their domination and achievement in Davis Cup in that period, Tennis become a popular sport among Australian people dan Australian tennis athletes become the representation of Australian national identity. This research utilizes historical method through compiling archives, such as newspaper article from The Sydney Morning Herald, Age, The West Australian and other newspaper or magazine article in the respective period, from the National Library of Australia. The secondary resources for this research came from several books written by Sport and Political Science researcher, autobiography of Rod Laver, and article journal accredited by SCOPUS that has been retrieved either by online or offline from Universitas Indonesia Central Library, National Library of Indonesia, National Library of Australia, and other information portal. This research concludes that the participation and domination of Australian national team in Davis Cup in 1950 until 1968 brings significant impact to the Australian national identity as a sporting nation.

Abstrak :
Artikel ini membahas tentang identitas nasional pada Masjid Syuhada, yang terletak di Kotabaru, Yogyakarta. Masjid ini selesai dibangun pada tahun 1952, dengan latar berdirinya sebagai monumen kemerdekaan Republik Indonesia. Permasalahan dari penelitian ini adalah apakah Masjid Syuhada benar-benar dapat merepresentasikan identitas nasional, dengan tujuan penelitian yaitu mendeskripsikan bentuk bangunan dari Masjid Syuhada serta menjelaskan representasi identitas nasional yang terdapat didalamnya. Dengan menggunakan metode yang dikemukakan oleh Sharer and Ashmore, terdiri dari; formulasi, implementasi, pengumpulan data, pengolahan data, analisis, interpretasi dan publikasi. Berdasarkan latar sejarah, ide dan konsep para pendiri, serta konteks dengan lingkungan sekitar, Masjid Syuhada memiliki identitas utama sebagai masjid yang merepresentasikan nilai-nilai kemerdekaan dan persatuan Indonesia. Disamping itu, Masjid Syuhada juga melekat dengan nilai keislaman dan ketradisionalnya sebagai bangunan masjid, dan dapat mampu beradaptasi dengan bangunan-bangunan di sekitarnya. ......This article discusses the national identity of the Syuhada Mosque located in Kotabaru, Yogyakarta. This mosque was completed in 1952, with the backdrop of its establishment as a monument to the independence of the Republic of Indonesia. The problem of this research is whether the Syuhada Mosque can really represent national identity, with the aim of the study to describe the shape of the building of the Syuhada Mosque and explain the representation of national identity contained therein. By using the method proposed by Sharer and Ashmore, consisting of; formulation, implementation, data collection, data processing, analysis, interpretation and publication. Based on the historical background, the ideas and concepts of the founders, as well as the context with the surrounding environment, the Syuhada Mosque has its main identity as a mosque that represents the values of Indonesian independence and unity. Besides that, the Syuhada Mosque is also attached to its Islamic and traditional values as a mosque building, and is able to adapt to the surrounding buildings.

Abstrak :
Tesis ini membahas identitas nasional yang terdapat dalam naskah teks sejarah perumusan dasar negara Pancasila tentang sistem tanda dan makna yang terdapat dalam naskah tersebut. Penelitian ini adalah penelitian kualitatif dengan desain deskriptif. Dengan menggunakan analisis semiotika Peirce, dapat disimpulkan bahwa makna yang didapatkan dari perumusan naskah tersebut menunjukkan proses komunikasi menggunakan sistem tanda yang saling mendukung satu sama lain. Proses pembangkitan makna dalam persidangan yang berlangsung menghasilkan rumusan Pancasila yang disepakati sebagai dasar Indonesia Merdeka, dan menjadi simbol identitas nasional. Penelitian ini memiliki implikasi teoritis yang membedah naskah sejarah ke dalam level teks untuk kemudian dianalisis proses semiosisnya dalam beberapa tahap dan menginterpretasikan tanda tersebut ke dalam suatu pemaknaan tanda yang saling menguatkan. Penelitian ini memberi rekomendasi bagi akademisi yang tertarik untuk mengkaji naskah teks sejarah Indonesia yang menjadi konsensus nasional dengan memperhatikan proses perumusan dan penyusunannya sehingga menjadi refleksi dalam mengatasi permasalahan bangsa. ...... This thesis discuss national identity contained in the manuscript of the text the history of the state basic formulation of Pancasila about system of signs and meanings that was found in the manuscript. This research is the qualitative study with the design descriptive. Using the Peirce semiotics analysis, it can be concluded that meaning obtained from the formulation of a manuscript is indicated processes of communication using system of signs of mutual support each other. The process of the generation of meaning in meetings that produce synthesis Pancasila agreed as the basis of Indonesia became independent, and become a symbol of national identity. This research have an implication theoretical that dissected manuscript the history into the level of the text, then analyzed the process of semiosis in several stages and interpret the signs into a meanings of which corroborate. This research give recommendations for academics who are interested to study the manuscript of the text Indonesian history becomes national consensus by observing the process of formulation and its compilation becomes a reflection in solving the nation problems.

Abstrak :
Adanya One China Policy menjadikan ruang gerak Taiwan dalam menjalin hubungan dengan negara lain semakin sulit. Gastrodiplomasi menjadi salah satu upaya diplomasi publik yang diambil oleh Taiwan untuk mempertegas status mereka. Melalui praktik gastrodiplomasi dengan teh boba, Taiwan berusaha untuk mengangkat status negaranya dari kedudukan politik yang abu-abu. Tujuan penelitian ini adalah membuktikan bagaimana Taiwan menggunakan teh boba untuk menciptakan identitas nasional. Penelitian ini ditulis dengan pendekatan kualitatif dan analisis deskriptif yang menggunakan data sekunder melalui buku, artikel ilmiah, media massa, dan dokumen tertulis lainnya. Hasil penelitian ini menunjukkan bahwa Taiwan menggunakan kuliner khasnya sebagai media komunikasi antar bangsa dengan membentuk citra dan identitas bangsa. ......The existence of the One China Policy put Taiwan in a difficult position to establish relations with other countries. Gastrodiplomacy is one of the public diplomacy efforts taken by Taiwan to emphasize their status. Through the practice of gastrodiplomacy with boba tea, Taiwan seeks to elevate its country's status in a gray political position. The purpose of this study is to prove how Taiwan uses boba tea to create a national identity. This research was written with a qualitative approach with descriptive analysis using secondary data through books, scientific articles, mass media, and other written documents. The results of this study indicate that Taiwan uses its culinary as a medium of communication between nations by forming the image and identity of the nation.

Abstrak :
Artikel ini membahas tentang Pertjatoeran Doenia dan Film sebagai majalah film yang bercorak nasionalisme Indonesia. Majalah ini terbit pada 1941 – 1942 seiring dengan sifat pergerakan nasional Indonesia yang condong ke arah kooperatif dan pengembangan kemajuan bangsa melalui ekonomi, usaha-usaha dagang, sekolah, dan juga pers Indonesia. Di saat yang sama, terjadi peningkatan signifikan pada produksi film di Hindia Belanda menyusul kesuksesan Terang Boelan (1937) yang membuktikan bahwa resep tertentu dalam membuat film dapat menjanjikan keuntungan finansial yang besar. Majalah ini kemudian muncul untuk mendukung industri film yang sedang berkembang di Hindia Belanda dan mengarahkannya untuk kemajuan bangsa Indonesia. Dari penelitian ini, dapat disimpulkan bahwa Pertjatoeran Doenia dan Film memiliki peran dalam membangun rasa nasionalisme bangsa Indonesia melalui diskursus- diskursus yang termuat dalam lembaran majalah mengenai hakikat film Indonesia, hubungan antara modernisme dan kemajuan bangsa, hingga pemberitaan-pemberitaan tentang politik pergerakan menjelang akhir kolonialisme Belanda. Untuk mencapai kesimpulan tersebut, digunakan sembilan nomor majalah Pertjatoeran Doenia dan Film dan dianalisis dengan berbagai literatur tentang periode akhir kolonialisme Belanda. Sebagai soft media yang mengedepankan berita hiburan, majalah ini dapat lolos menyuarakan cita-cita kaum pergerakan pada masa itu tanpa diberangus oleh pemerintah. ......This article discusses Pertjatoeran Doenia dan Film as film magazine with Indonesian nationalism as its characteristic. This magazine published in 1941-1942 along with the nature of Indonesian national movement by its cooperative and national development through economy, trading businesses, schools, and Indonesian press. At the same moment, there was significant increase of Dutch East Indies‟ film industry following the success of Terang Boelan (1937) that proved a certain recipes in film making could bring huge number of financial returns. Then, this magazine appeared to support the developing film industry in Dutch East Indies and make it beneficial to the behalf of Indonesia nation. From this research, it can be concluded that Pertjatoeran Doenia dan Film has a role in developing sense of Indonesian nationalism through discourses contained in the magazine about the essence of Indonesian film, the connection between modernism and nation development, and coverage of political movement in the end of Dutch colonialism in Indonesia. In reaching that conclusion, nine numbers of series of Pertjatoeran Doenia dan Film magazine were used and analyzed with various literatures about the late period of Dutch colonialism. As a soft media delivering entertainment news, this magazine was able to voicing the ideals of the nationalists at the time without being suppressed by the government.

Abstrak :
Artikel ini akan membahas perkembangan seni A.D. Pirous dari Abstrak ke Kaligrafi pada tahun 1965-1970. Perjalanan seorang seniman sehingga mencapai gaya khasnya tidaklah instan. Perkembangan gaya kesenian seorang seniman dapat dipengaruhi oleh berbagai faktor seperti keinginan untuk mencari identitasnya. Fenomena tersebut juga dilalui oleh A.D Pirous yang pada awal karirnya dikenal sebagai seniman abstrak Indonesia mengalami perkembangan yang unik di mana awalnya ia dikenal sebagai seniman abstrak Indonesia menjadi salah satu perintis kaligrafi modern di Indonesia. Perubahan tersebut menarik terdorong dari keinginannya untuk menemukan identitas nasionalnya setelah menyadari bahwa pendidikan seninya sangat dipengaruhi seni barat. Kini, karya kaligrafinya menjadi khas keindonesiaan Pirous pada dunia kesenian internasional. Telah banyak penelitian mengenai nilai-nilai Islam serta kajian yang menguraikan teknikalitas pada karya-karya Pirous. Maka dari itu, kajian ini akan menggambarkan identitas nasional A.D Pirous melalui perkembangan keseniannya pada tahun 1965-1980. Perkembangan seninya memperlihatkan bahwa perubahan gayanya melalui proses yang panjang. Penelitian ini menggunakan metode penulisan sejarah yang mencakup pemilihan topik, heuristik, verifikasi (kritik sumber), interpretasi, dan historiografi. Data yang mendukung penelitian didapatkan dari pengumpulan arsip lukisan, pamflet pameran, wawancara, dan buku. ......This article will discuss the development of A.D. Pirous' art from Abstract to Calligraphy in 1965-1970. An artist's journey to achieve his or her signature style is not instantaneous. The development of an artist's art style can be influenced by various factors such as the desire to find his identity. A.D Pirous, who at the beginning of his career was known as an Indonesian abstract artist, experienced a unique development where he was initially known as an Indonesian abstract artist to become one of the pioneers of modern calligraphy in Indonesia. The change was interestingly driven by his desire to find his national identity after realizing that his art education was heavily influenced by western art. Today, his calligraphic works are typical of Pirous's Indonesianness in the international art world. There have been many studies on Islamic values as well as studies outlining the technicalities of Pirous' works. Therefore, this study will illustrate A.D Pirous' national identity through the development of his art from 1965-1980. The development of his art shows that the changes in his style went through a long process. This research uses a historical writing method that includes topic selection, heuristics, verification (source criticism), interpretation, and historiography. Data supporting the research was obtained from the collection of painting archives, exhibition pamphlets, interviews, and books.

Abstrak :
Para Pendiri Negara sadar benar, menyepakati lima butir nilai-nilai luhur bangsa yang merupakan falsafah bangsa Indonesia dituangkan pada akhir alinea 4 pembukaan UUD 1945 yang berbunyi: ….

Abstrak :
[ABSTRAK
Tesis ini menyelidiki proses berlangsungnya kontestasi dan negosiasi antar-aktor kampanye pariwisata Wonderful Indonesia dan Pesona Indonesia (WIPI) di media sosial Instagram dalam dinamika konstruksi dan pemaknaan identitas keindonesiaan. Data yang dikumpulkan dikategorisasi menjadi tiga narasi, yaitu ?resmi,? ?pemicu,? dan ?akar rumput?. Ada tiga aktor di Instagram yang diidentifikasi melalui peran dan keterlibatan, serta relasi kuasa di antara mereka, yaitu @indtravel, akun Instagram duta media sosial dan pengguna lima tagar. Untuk melihat dinamika konstruksi dan pemaknaan identitas keindonesiaan lebih lanjut digunakan konsep dan teori identitas nasional, country branding, aparatus ideologis negara dan interpelasi, Instagram sebagai media sosial, budaya partisipatoris dan heteroglosia dalam media sosial, serta cultural intermediaries. Penelitian ini menemukan bahwa WIPI sebagai perwujudan country branding merefleksikan upaya Kementerian Pariwisata untuk mengkonstruksi dan menarasikan keindonesiaan sebagai identitas kompetitif. Pada level akar rumput, duta media sosial mengkontestasi Narasi Resmi tersebut dengan menyorot identitas-identitas keindonesiaan lain yang berada di periferi. Namun, kontestasi tersebut berubah menjadi negosiasi ketika Kementerian Pariwisata memprioritaskan penggunaan media sosial dalam kampanye WIPI. Hal ini mengubah peran duta media sosial dari perantara budaya yang memproduksi narasi akar rumput menjadi aktor yang memproduksi narasi pemicu. Tesis ini menemukan para aktor memanfaatkan karakteristik dan fitur Instagram untuk memproduksi teks heteroglosik, baik sengaja maupun tidak, yang mengkontestasi dan menegosiasi satu sama lain. Instagram, yang menitikberatkan postingan visual, juga berkontribusi dalam proses visualisasi imajinasi keindonesiaan. Media sosial, dalam hal ini Instagram, memainkan peranan penting dalam proses konstruksi dan pemaknaan keindonesiaan karena menyediakan ruang bagi para aktor untuk berkolaborasi dalam proyek sinambung yang merumuskan keindonesiaan.

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ABSTRACT
This thesis investigates the contestation and negotiation in Wonderful Indonesia and Pesona Indonesia tourism campaign (WIPI), which happen between actors in social media, Instagram, in a way to construct their Indonesianess. The collected data is categorised into 3 narratives: ?official,? ?triggering,? and ?grassroots?. There are 3 actors in Instagram, @indtravel, Instagram accounts of social media ambassadors and of those five hashtags users, which are identified by their roles, engagements and power relations. To look further into the dynamics of constructing and signifying Indonesianess concepts and theories of national identity, country branding, ideological state apparatuses and interpellation, Instagram as social media, participatory culture and heteroglossia in social media, and cultural intermediaries are used. Research findings reveal that WIPI is a form of country branding reflecting Tourism Ministry?s efforts to construct and narrate Indonesianess as a competitive identity. At a grassroots level, social media ambassadors contest that narrative by highlighting other identities that lie in the periphery. Later, the contestation turns into negotiation once the Tourism Ministry prioritises the use of social media in their campaign. This changes social media ambassadors? role as cultural intermediaries producing grassroots narrative into ones who produce the triggering narrative. This thesis finds all actors utilize Instagram characteristics and features to produce intended or unintended heteroglossic texts that contest against-, interpellate and negotiate with each other. Instagram, whose strong feature lies in visual posts, also contributes in visualizing the imagination of Indonesianess. Social media, in this case Instagram, plays important roles in the process of constructing and signifying Indonesianess, because it provides space for actors to collaborate in a continuous project of formulating Indonesianess.;This thesis investigates the contestation and negotiation in Wonderful Indonesia and Pesona Indonesia tourism campaign (WIPI), which happen between actors in social media, Instagram, in a way to construct their Indonesianess. The collected data is categorised into 3 narratives: ?official,? ?triggering,? and ?grassroots?. There are 3 actors in Instagram, @indtravel, Instagram accounts of social media ambassadors and of those five hashtags users, which are identified by their roles, engagements and power relations. To look further into the dynamics of constructing and signifying Indonesianess concepts and theories of national identity, country branding, ideological state apparatuses and interpellation, Instagram as social media, participatory culture and heteroglossia in social media, and cultural intermediaries are used. Research findings reveal that WIPI is a form of country branding reflecting Tourism Ministry?s efforts to construct and narrate Indonesianess as a competitive identity. At a grassroots level, social media ambassadors contest that narrative by highlighting other identities that lie in the periphery. Later, the contestation turns into negotiation once the Tourism Ministry prioritises the use of social media in their campaign. This changes social media ambassadors? role as cultural intermediaries producing grassroots narrative into ones who produce the triggering narrative. This thesis finds all actors utilize Instagram characteristics and features to produce intended or unintended heteroglossic texts that contest against-, interpellate and negotiate with each other. Instagram, whose strong feature lies in visual posts, also contributes in visualizing the imagination of Indonesianess. Social media, in this case Instagram, plays important roles in the process of constructing and signifying Indonesianess, because it provides space for actors to collaborate in a continuous project of formulating Indonesianess., This thesis investigates the contestation and negotiation in Wonderful Indonesia and Pesona Indonesia tourism campaign (WIPI), which happen between actors in social media, Instagram, in a way to construct their Indonesianess. The collected data is categorised into 3 narratives: “official,” “triggering,” and “grassroots”. There are 3 actors in Instagram, @indtravel, Instagram accounts of social media ambassadors and of those five hashtags users, which are identified by their roles, engagements and power relations. To look further into the dynamics of constructing and signifying Indonesianess concepts and theories of national identity, country branding, ideological state apparatuses and interpellation, Instagram as social media, participatory culture and heteroglossia in social media, and cultural intermediaries are used. Research findings reveal that WIPI is a form of country branding reflecting Tourism Ministry’s efforts to construct and narrate Indonesianess as a competitive identity. At a grassroots level, social media ambassadors contest that narrative by highlighting other identities that lie in the periphery. Later, the contestation turns into negotiation once the Tourism Ministry prioritises the use of social media in their campaign. This changes social media ambassadors’ role as cultural intermediaries producing grassroots narrative into ones who produce the triggering narrative. This thesis finds all actors utilize Instagram characteristics and features to produce intended or unintended heteroglossic texts that contest against-, interpellate and negotiate with each other. Instagram, whose strong feature lies in visual posts, also contributes in visualizing the imagination of Indonesianess. Social media, in this case Instagram, plays important roles in the process of constructing and signifying Indonesianess, because it provides space for actors to collaborate in a continuous project of formulating Indonesianess.]

Abstrak :
Prancis merupakan salah satu negara multikultural atau negara dengan identitas nasional yang berasal dari keragaman dan kemajemukan. Salah satu film yang mengangkat multikulturalisme Prancis adalah film Samba (2014) karya Olivier Nakache dan Éric Toledano. Film ini menggambarkan perjuangan hidup imigran yang telah menetap selama 10 tahun di Prancis secara tiba-tiba mendapatkan status imigran ilegal. Permasalahan imigran yang pada saat itu menjadi permasalahan genting menimbulkan sebuah bentuk kekuasaan secara sepihak oleh kelompok kulit putih. Berdasarkan pemaparan tersebut, penelitian ini bertujuan untuk memperlihatkan rasionalisasi hegemoni kulit putih terhadap imigran di Prancis dimunculkan dalam film. Penelitian ini akan menggunakan metode kualitatif, dengan bantuan teori Boggs dan Petrie (2008) untuk memahami unsur dramatik dan sinematografis film, dan teori hegemoni Gramsci (2013) beserta konsep white hegemony Edwards (2008). Hasil penelitian menunjukkan bahwa hegemoni kulit putih muncul pada tokoh Samba melalui penyebaran ideologi yang telah diinternalisasi oleh pihak penguasa. Tokoh Samba sebagai pihak yang berhasil dikuasai memercayai dan meyakini bahwa ide-ide tersebut merupakan suatu hal yang benar dan wajar. Hegemoni yang dialami tokoh Samba membuatnya mengalami konformitas atau perubahan sikap dan tingkah laku untuk menyesuaikan diri dengan nilai, aturan dan norma kelompok kulit putih. ......France is one of a multicultural country or a country with a national identity that comes from diversity and pluralism. One of the films that elevates France multiculturalism is the film Samba (2014) by Olivier Nakache and Éric Toledano. This film depicts the life struggle of immigrants who have lived for 10 years in France suddenly get illegal immigrant status. At that time, the problem of immigrants became a critical problem that inflict a form of unilateral power by the white group. Based on this explanation this study aims to show the rationalization of white hegemony against immigrants in France that appears in the film. This research will use a qualitative method, with the help of Boggs and Petrie (2008) theory to understand the dramatic and cinematographic elements of the film, and Gramsci's (2013) hegemony theory along with the concept of white hegemony by Edwards (2008). The results show that white hegemony appears in the character of Samba through the spread of ideology that has been internalized by the white group. Samba as the party who was successfully mastered believed and assured that these ideas were something that was right and rational. The hegemony experienced by Samba makes him experience conformity or changes in attitudes and behavior to adjust to the values, rules and norms of the white group.