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Abstrak :
Indonesia is the largest country in Southeast Asia where there is a significant number of ethnic Chinese, many of whom have played an important role. This book presents biographical sketches of about 530 prominent Indonesian Chinese, including businessmen, community leaders, politicians, religious leaders, artists, sportsmen/sportswomen, writers, journalists, academics, physicians, educators, and scientists. First published in 1972, it was revised and developed into the present format in 1978, and has since been revised several times. This is the fourth and most up-to-date version.

Abstrak :
Penelitian ini merupakan terjemahan beranotasi. Dalam penelitiannya, penulis ini menerjemahkan dua bab dari buku biografi Tokoh Tionghoa & Identitas Indonesia: dari Tjoe Bou San sampai Yap Thiam Hien dan menganotasi terjemahannya mengenai bagian yang penting dan dirasakan perlu. Tujuan penelitian umum adalah menghasilkan terjemahan yang berhasil dan berterima bagi pembaca bahasa sasaran. Tujuan penelitian khusus dapat dijabarkan: (1) menemukan metode yang tepat untuk menerjemahkan teks sumber ini; (2) menemukan teknik penerjemahan yang cocok dan memberikan alasan memilih padanan. Dalam menerjemahkan biografi itu, penulis ini menggunakan metode penerjemahan komunikatif (Newmark, 1988) dan menganggap teori kesepadaan dinamis dari Nida dan Taber (1982) sebagai prinsip utama. Anotasi menjelaskan berbagai unsur yang diklasifikasi dalam enam kelompok, yaitu kata bermuatan budaya, frasa yang diterjemahkan ke dalam bentuk idiom bahasa Tionghoa, nama diri, metafora, catatan kaki, dan kalimat. Menerjemahkan sebuah teks dengan baik bukan hanya memerlukan tingkat kemahiran bahasa yang tinggi tetapi juga pengetahuan yang luas.

Abstrak :

ABSTRAK
Taking issues from mainstream research, which has overly coalesced the discussion around patronage-ridden relationships and money politics, this paper argues that democracy has restructured the pattern of state-ethnic Chinese business relationships into a dispersed network, due to the dynamics of capital convertibility within varying scales of power and interests. Offering a unique perspective on capital conversion, this paper aims to debunk the orthodox view of Chinese capital as being merely money that accommodates politics. The revival of Chinese conglomerates in the political-economic life of Indonesia in the aftermath of crises was subject to capital in various forms: economic capital, socio-political capital, ideas, and knowledge. At the time of capital restructuring, an ever-increasing dispersed network of Chinese businesses demonstrated that their position was neither higher than politics nor independent of it, yet the arrangement allowed them to dovetail well with various forces and power holders in a pattern of horizontal connection.

Abstrak :
Penelitian ini tentang representasi identitas diaspora Tionghoa dalam dua film, yaitu The Journey (Malaysia) dan Ngenest (Indonesia). Peran diaspora Tionghoa sejak awal kehadiran film di kedua negara (akhir 1920-an) sangat signifikan. Akan tetapi, sejak periode akhir 1960-an hingga tahun 2000, peran itu dan tema ketionghoaan berkurang sangat drastis akibat dari kebijakan politik kedua negara terhadap diaspora Tionghoa. Baru setelah tahun 2000-an, seiring perubahan politik di Indonesia dan ketersediaan teknologi dalam pembuatan film di Malaysia, film bertema ketionghoaan kembali hadir di kedua negara. The Journey (2014) dan Ngenest (2015) diproduksi pada era setelah tahun 2010-an, dan disutradarai oleh diaspora Tionghoa. Menggunakan metode kualitatif, penelitian ini melakukan analisis mendalam terhadap unsur-unsur pembentuk kedua film, yaitu unsur naratif dan unsur sinematik. Konsep representasi dan identitas dari Stuart Hall digunakan sebagai kerangka teoritis dalam penelitian ini untuk memahami representasi identitas diaspora Tionghoa dalam kedua film dari dua negara ini. Temuan dari penelitian ini adalah bahwa kedua film sama-sama merepsentasikan hal- hal berikut, namun dengan cara yang berbeda, yaitu: 1) tradisi adalah bagian dari penanda identitas diaspora Tionghoa; 2) dinamika identitas yaitu berupa tegangan antara tradisi dengan modernitas (The Journey) dan antara ketionghoaan dengan pandangan diskriminatif terhadapnya (Ngenest); 3) ketidakadaan relasi dengan Tiongkok sebagai negara secara politis. Representasi identitas diaspora Tionghoa di dalam kedua film sangat berbeda karena tidak terlepas dari perbedaan sosial, budaya, dan politik identitas terhadap diaspora Tionghoa di kedua negara tersebut. Masing-masing tokoh utama dalam kedua film merepresentasikan bagaimana identitas diaspora Tionghoa berada dalam kondisi “being” dan “becoming” dalam konteks konsep identitas dari Stuart Hall, yaitu identitas adalah a matter of “becoming” as well as of “being”. ......This research is about the representation of the Chinese diaspora‟s identity in two different films, The Journey (Malaysia) and Ngenest (Indonesia). Since the late 1920s, when the cinema has just started to be introduced in both countries, the contributions of the Chinese diaspora has been very significant. However, from the late 1960s to 2000, there has been a decline in the participation of the Chinese diaspora in the cinema which results in the decline of Chinese-themed films. This phenomenon was a result of the two countries' political policies towards the Chinese diaspora. It was only after the 2000s, along with political changes in Indonesia and the availability of technology in filmmaking in Malaysia, that Chinese-themed films returned to both countries. The Journey (2014) and Ngenest (2015) were produced in the post-2010s era, and were directed by the Chinese diaspora. Using qualitative methods, this research conducts an in-depth analysis of the elements of the two films, which are the narrative elements and cinematic elements. Stuart Hall's concept of representation and identity was used as a theoretical framework to understand the representation of Chinese diaspora identity in the two films from these two countries. The findings of this study are that both films represent the followings: 1) tradition is part of the identity marker of the Chinese diaspora; 2) the dynamics of identity in the form of tension between tradition and modernity (The Journey) and between Chinese and discriminatory views against it (Ngenest); 3) the absence of relations with China as a country politically. However, there were differences in how those things were represented. The different representations were related with the differences in terms of social, cultural, and identity politics of the Chinese diaspora in both countries. Using Stuart Hall‟s concept of identity, it can be seen that each of the main characters in both films represents how the identity of the Chinese diaspora is in a state of "being" and "becoming".