scholarly journals CONSTRUCTION OF NATION AND NATIONALISM IN 4 INDONESIAN NOVELS IN EUROPE

Widyaparwa ◽  
2020 ◽  
Vol 48 (1) ◽  
pp. 65-78
Author(s):  
Candra Rahma Wijaya Putra ◽  
Rose Fitria Lutfiana
Keyword(s):  
The Self ◽  
Imagined Community ◽  
Literary Works ◽  
Self Image ◽  
Five Elements ◽  
Race Ethnicity ◽  
Literary Sociology ◽  
Nation And Nationalism

This study aims to understand the concept of nation and nationalism through four literary works with a European background. The approach of literary sociology in this study is used to look for forms of Indonesian nationalism in Europe. The aim is to find the source of self-depiction as an important element in constructing the concept of the nation. The results showed that the self-image as an Indonesian identity was aimed at citizenship, history, culture (language and food), race (ethnicity), and religion. Collective awareness about citizenship, history, culture, and race refers to the locally imagined community, namely the Indonesian people. Religion refers to the universal community. The five elements are at the same time a source of nationalism, both the nation in understanding local and universal communities.Penelitian ini bertujuan untuk memahami konsep bangsa dan nasionalisme melalui empat karya sastra berlatar Eropa. Pendekatan sosiologi sastra dalam penelitian ini digunakan untuk mencari pembeda nasionalisme Indonesia di Eropa. Tujuannya adalah mencari sumber penggambaran diri sebagai unsur penting dalam mengkonstruksi konsep bangsa. Hasil penelitian menunjukan bahwa gambaran diri sebagai identitas keindonesiaan ditujukan dalam kewarganegaraan, sejarah, budaya (bahasa dan makanan), ras (etnis), dan agama. Kesadaran kolektif tentang kewarganegaraan, sejarah, budaya, dan ras merujuk pada komunitas terbayang lokal, yaitu bangsa Indonesia. Agama merujuk pada komunitas universal. Kelima unsur tersebut sekaligus sebagai sumber nasionalisme, baik bangsa dalam pemahaman komunitas lokal maupun universal.

Zofia Kulik. The Splendor of Myself

2019 ◽  
Author(s):  
Agata Jakubowska
Keyword(s):  
Women Artists ◽  
The Self ◽  
Self Image ◽  
Physical Presence

Narratives about women artists usually point to the obstacles they face in the development of their artistic careers. In her article, the author proposes an analysis that concentrates on how a woman artist – Zofia Kulik – presented herself as the heroine of a successful story of emancipation in the series of works titled The Splendor of Myself (1997, 2015, 2017). The self-image she presents is paradoxical: we deal with both her ostentatious presence and her absence as her physical presence is hidden behind the gorgeous but extremely stiff dress. It corresponds with Kulik’s understanding of her success as directly related with the wealth of images and the mastery of composition.

Mock Mockers: Cynicism, Suffering, Irish Modernism

2021 ◽  
Vol 8 (2) ◽  
pp. 177-194
Author(s):  
Ronan McDonald
Keyword(s):  
Twentieth Century ◽  
The Self ◽  
Philosophical Tradition ◽  
Literary Works ◽  
Early Twentieth Century ◽  
Peter Sloterdijk ◽  
Irish Modernism

Cynicism styles itself as the answer to the mental suffering produced by disillusionment, disappointment, and despair. It seeks to avoid them by exposing to ridicule naive idealism or treacherous hope. Modern cynics avoid the vulnerability produced by high ideals, just as their ancient counterparts eschewed dependence on all but the most essential of material needs. The philosophical tradition of the Cynics begins with the Ancients, including Diogenes and Lucian, but has found contemporary valence in the work of cultural theorists such as Peter Sloterdijk. This article uses theories of cynicism to analyze postcolonial disappointment in Irish modernism. It argues that in the “ambi-colonial” conditions of early-twentieth-century Ireland, the metropolitan surety of and suaveness of a cynical attitude is available but precarious. We therefore find a recursive cynicism that often turns upon itself, finding the self-distancing and critical sure-footedness of modern, urbane cynicism a stance that itself should be treated with cynical scepticism. The essay detects this recursive cynicism in a number of literary works of post-independence Ireland, concluding with an extended consideration of W. B. Yeats’s great poem of civilizational precarity, “Nineteen Hundred and Nineteen.”

The Self-Image as Defense and Resistance

1960 ◽  
Vol 29 (1) ◽  
pp. 72-81
Author(s):  
Esther Menaker
Keyword(s):  
The Self ◽  
Self Image

Langdell Laughs

1999 ◽  
Vol 17 (1) ◽  
pp. 141-144
Author(s):  
William P. LaPiana
Keyword(s):  
Twentieth Century ◽  
Critical Role ◽  
Teaching Profession ◽  
The Self ◽  
Primary Sources ◽  
Christopher Columbus ◽  
Self Image ◽  
American Law

The amount of ink spilled in consideration of the life, thought, accomplishments, and legacy of Christopher Columbus Langdell is eloquent testimony to the critical role he plays in the self-image of the American law teaching profession. It is both wonderful and astounding, therefore, to find that critical primary sources remained unread and unused at the very end of the twentieth century. Now that Bruce Kimball has brought them to light, we have a more complete view of the man and his thought, one that, not surprisingly, reveals to us someone quite different from the cruelly and crudely caricatured inventor of those twin devices for stifling young minds, the case and Socratic methods.

Recht als Gegenstand rhetorischer Grundlagenforschung

Rhetorik ◽  
2021 ◽  
Vol 40 (1) ◽  
pp. 1-18
Author(s):  
Jens Fischer
Keyword(s):  
The Self ◽  
The Other ◽  
Legal Rhetoric ◽  
Logical Status ◽  
Realistic Picture ◽  
Self Image ◽  
Other Hand ◽  
Rhetorical Practice ◽  
Rhetorical Figure ◽  
Judicial Procedure

Abstract According to the self-image of lawyers, jurisprudence is a science: the premises in legal conclusions are truth-apt, as are the conclusions or judgements that follow from them, the cognition of true law is consequently regarded as their task. Against this background, a program that understands and analyzes law as the product of a rhetorical practice is confronted with fierce resistance. According to the research of analytical legal rhetoric, on the other hand, the evidence for a rhetorical imprint on law is overwhelming: starting with the logical status of legal inferences, to the peculiarities of judicial procedure, to the motivational situation of those involved in it, everywhere it becomes apparent that the image of strict truth-orientation inadequately describes the genesis of law. Following Aristotle, who assigned law to the field of phrónēsis and not to epistēmē, contemporary legal rhetoric research aims to draw a realistic picture of the genesis of law. Subdivided into the triad of logos, ethos, and pathos, it attempts to fully grasp the interrelationships involved. It becomes apparent that the rational or argumentative dimension is far from dominating in legal justifications. It is precisely at the neuralgic point, i.e., where arguments are opposed to each other, that the rhetor typically uses a rhetorical figure that links all levels of the triad: the restrictio.

Becoming #Instafamous

2021 ◽  
Author(s):  
Dominika Kováčová
Keyword(s):  
The Self ◽  
Professional Life ◽  
Self Presentation ◽  
Self Image

Abstract Drawing on Goffman’s (1990 [1959]) metaphor of stage, this paper considers Instagram a frontstage environment where users are cautious of being watched and attune their performance to how they want to be perceived via strategic self-presentation. This understanding of online performance is particularly pertinent in the discussions of bloggers who turn to Instagram to promote their work to new audiences. Examining the self-presentation practices of three fashion bloggers, this paper argues that to gain popularity on Instagram, bloggers utilize the features of formality and informality in the construction of an authentic and likable self-image. Since in the photographs the bloggers’ professional life is usually depicted as distant from their audience’s reality, the accompanying textual caption serves as a means of providing balance for the overall image the poster seeks to present. Consequently, the caption abounds with features of informality, which connote linguistic immediacy and imitate an intimate conversation with peers.

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