Surface and Depth: Reading Photographs in Obasan and The Invention of Solitude

<i>Cultural Capital</i>: Reflections from a Latin Americanist

Introduction: The Interactive Relations Between Science and Technology and Literary Studies

This study aims to describe the symbols of democratic leadership based on Roland Barthes' semiotic theory contained in the film Tepatilah Janji directed by Garin Nugroho. This film contains symbols of leadership during the period of political democracy or the regional head election period. The method used in this study is qualitative research. Research that is able to describe the meaning of denotation, connotation, and myth based on Roland Barthes' semiotic theory. The data source for this study is through direct observation by watching the film Tepatilah Janji on the Youtube application on the KPU RI account. While the data for this study is through image clips in the dialogue and scenes of the film. The data collection technique is with the stages of observation, documentation, and literature study. While the data analysis technique is by carrying out three stages of meaning, namely denotation, connotation, and myth. The analysis of this study is able to analyze the meaning, signs and symbols contained in the scenes and dialogues of the film. Researchers have found 3 symbols of democratic leadership, including symbols of abuse of office or authority, symbols of agreements with parties, and symbols of open debate. These symbols show scenes in the events of prospective leaders who are trying to maintain power and compete in the period of promised leadership or the campaign period. In addition, there are candidates for leaders who are ambitious in campaigning. He takes political actions that are not appropriate according to political regulations. These actions indicate the existence of symbols of political democratic leadership. Therefore, researchers will reveal the symbols of democratic leadership using Roland Barthes' semiotic theory.

The implementation of funeral ceremony has uniqueness, sanctity, and moral values contained in them in the form ceremony as a tradition as well as arts and myths that implied in it. Similarly, in the tradition of funeral ceremony among Peranakan Tionghoa Bangka (Chinese descendants of Bangka Province) and Cina Benteng (Chinese people living in Tangerang, Banten Province) of Indonesia. One of the arts and the myths is exemplified by a bracelet worn by Tionghoa Bangka and Cina Benteng community during the mourning. Even come from two different classes of Chinese society, both have the same view of the significance of the bracelet. This suggests there is a common thread between Tionghoa Bangka and Cina Benteng. The purpose of this study is to determine the meaning contained in the traditions and myths attached to the bracelet as one of the attributes of the death ceremony of Tionghoa bangka and Cina Benteng. This research uses theory of semiotics as formulated by Roland Barthes. This study used qualitative research method with descriptive analysis. The methodology used is semiotics. All data was collected by connecting the visible sign of the mourning bracelet as one of the attributes of the funeral ceremony, combined with literature studies. The research object consists of attributes which are used by Those who are Bangka Chinese and Cina Benteng, then the implied meanings are explored in depth and correlated with the arts in the ceremony tradition as well as the myths which developed as an Indonesian-Chinese’s heritage. Keywords: Mourning Bracelet, Tradition and Myth, Semiotic Studies

Film is a part of mass communication; also, film is a part of mass media. Through film, message can be communicated to the receivers by seeing the motion and listening to the sound. A lot of films have been produced by a lot of film makers; however, some of them are produced without considering contents of the films which contravene the religious norms. Year by year, some films have been produced with religious and historical themes. One of the films is 99 Cahaya di Langit Eropa which has the theme of religious histories of Europe. By observasing the issue above, the present writer chooses 99 Cahaya di Langit Eropa as the material of observation, since this film serves some religious values. The title of this observation is “The Representative of Religious Values in the Film of 99 Cahaya di Langit Eropa”. This observation is aimed to find the denotative and connotaive meanings, and the myths contained in the film. The methods used in this observation is qualitative method with approaches to semiotics by Roland Barthes. Collecting data done in this observation is observing the film by watching directly; also, collecting the result of interviews, literature study, and documentary study are done in this observation. From the observation, the present writer finds the representative and meanings of religious values in 99 Cahaya di Langit Eropa. The meanings show that the identity of Muslim should be uphold and kept by every Muslim in order to keep the religious values in the environment.

The theory and practice of literary study within the rigid structure of French national education is a complex topic to which this book may serve at best as an introduction. Many issues alluded to in the previous chapters simply have not received the scholarly attention they continue to require. Among these are the failed attempt by radicals of the First Republic to create a national literature modeled on a regenerated French language; the sexual prohibitions, modeled on those of the clergy, imposed by the Third Republic on the pedagogical profession, especially its female members; the partnership between the French government and private publishing houses that not only provided textbooks for the republican school, but also printed the best-selling polemical and theoretical treatises that followed the advent of pedagogy as an object of scientific inquiry and political debate; the gap separating the French literary canon of higher education from the narrower and more distorted canon of primary and secondary education; and many more. Most important of all, perhaps, is the centrality of the School in contemporary analyses of institutionalized practices of reading or not reading literary texts, whether from the sociological perspective (especially Bourdieu and his disciples), or from the tradition of close reading (Barthes, Genette, Greimas, and others). The field of French literary studies is poised to undertake a more extensive discussion of many of these issues.

Abstrak: Peneltian ini bertujuan untuk: 1) menemukan penanda (signifier) dan petanda (signified) yang terdapat pada iklan rokok A Mild. 2) Memahami makna simbol iklan rokok A Mild menurut kajian semiologi Roland Barthes. Data dalam penelitian ini adalah teks iklan rokok A Mild. Metode pengumpulan data yang digunakakan adalah studi pustaka kemudian dianalisis secara deskriptif. Adapun hasil penelitian menunjukan bahwa terdapat penanda (signifier), petanda (signified) dan Mitos dalam Iklan Rokok A Mild yang digambarkan melalui konsep-konsep tentang gaya, kesenangan, dan percaya diri. Di dalam tataran mitos, yakni sistem semiologis lapis kedua, penanda berupa “gaya” ini merujuk pada petanda berupa aktualisasi diri: kesenangan, kenikmatan, percaya diri, dan keberanian. Dalam tataran inilah kemudian peneliti melihat bahwa konsep aktualisasi diri berupa: kesenangan, kenikmatan, percaya diri, dan keberanian menjadi mitos dari kenyataan hidup. Analogi inilah yang ditemukan peneliti hadir dalam iklan rokok A Mild berdasarkan kajian semiologi Roland BarthesAbstract: This research aims to: 1) find signifiers and signifiers contained in A Mild cigarette advertisements. 2) Understand the meaning of the A Mild cigarette advertising symbol according to Roland Barthes' semiological studies. The data in this study is the text of A Mild cigarette advertisements. The data collection method used is a literature study and then analyzed descriptively. The results showed that there are signifiers, signifieds and myths in A Mild cigarette advertisements that are described through concepts about style, fun, and confidence. In the mythical level, the second-layer semiological system, these markers of "style" refer to signs of self-actualization: pleasure, enjoyment, confidence, and courage. It is at this level that researchers then see that the concept of self-actualization in the form of: pleasure, enjoyment, confidence, and courage becomes a myth of the reality of life. This analogy is what researchers found present in the A Mild cigarette advertisement based on Roland Barthes' semiological studies

Literature, Biographism and the Communion of Saints: The Case of Jan Józef Lipski

This research aims to analyze the influence of Malay cultural background on symbolism in the novel Laskar Pelangi by Andrea Hirata. This novel not only depicts the life of the Malay community in Belitung, but also contains symbols that reflect local cultural values, such as religiosity, mutual cooperation and fighting spirit. Using Roland Barthes' semiotic approach and Clifford Geertz's cultural theory, this research identifies the main symbols in the novel, such as rainbows, education, friendship and nature, and examines their meaning in the context of Malay culture. The results of the research show that the symbols in Laskar Pelangi has a meaning that is closely related to the Malay cultural background. The rainbow, for example, symbolizes hopes and ideals influenced by the religiosity of the Malay people, while education becomes a symbol of the struggle to change fate through science. Friendship reflects the strong value of mutual cooperation in Malay culture, while natural elements, such as tin mines and beaches, illustrate the relationship between Malay people and their environment. This research concludes that the Malay cultural setting is not only a supporting element of the story, but also forms the meaning of symbolism in the novel . This study contributes to the study of Indonesian literature, especially in understanding the relationship between local culture and symbolism in literary works.

El interés por examinar la autobiografía y caracterizarla como género literario aumentó en el siglo xx. En la primera mitad, se publicaron obras fundacionales, como las de Georg Misch y Georges Gusdorf. Hacia los años setenta, Georges May, Philippe Lejeune y James Olney, entre otros, avanzaron en la tipificación del género. Paradójicamente, en ese mismo siglo, algunos autores exploraron formas de escritura autobiográfica, alejándose precisamente de las propiedades normalizadas, como la expresión “sincera”, la construcción de una identidad de manera esencialista y el desarrollo del estilo individual. Ejemplo de ello es L’Âge d’homme de Michel Leiris, que data de 1939. Más tarde, en 1975, apareció Roland Barthes por Roland Barthes, libro que resulta difícil clasificar, ya que no cumple con las características del género autobiográfico, y tampoco se trata de un diario o un ensayo. En 1977, Serge Doubrovsky utilizó el término autoficción para referirse a su propia novela Fils y cuestionar el estatuto de la autobiografía. A partir de entonces, se ha reflexionado teóricamente sobre esta noción, intentando fijar características de un posible nuevo género. El objetivo de este artículo es reflexionar sobre los aspectos que provocan ambigüedad en Roland Barthes por Roland Barthes, problematizando su clasificación, sea como autobiografía, sea como autoficción.

Abstract. This study was entitled: The meaning logo of Islamic Boarding School of Suryalaya. The purpose to know the meaning of denotation, connotation, and myth in the Islamic Boarding School of Suryalaya logo. The research method used was qualitative with Roland Barthes semiotic perspective. Technique of data collectionconducted were textual analysis, interviews, and literature study. Conclusion of the research showed that the denotative meaning in the logo of Islamic Boarding School of Suryalaya was about the sanctity of the inner or spiritual, connotative the logo Islamic Boarding School Suryalaya symbolized a meaningful process in the human life to be perfect like images of butterflies in the logo Islamic Boarding School Suryalaya and handle form are Al-Quran and Al-Hadith for to perfection, and the yellow color to be a spirit symbol of The Islamic Boarding Schoolof Suryalaya in spreading knowledge throughout the country. In the myth a lot of things are examined such as images of butterflies which are central in the logo that marks the formation of the image of Islamic boarding schools Suryalaya who want it liked people and teaches acceptable to Moeslims in Indonesia and overseas. Abstrak. Penelitian ini berjudul : Makna Logo Pondok Pesantren Suryalaya. Penelitian ini bertujuan untuk mengetahui makna denotasi, konotasi, mitos pada logo Pondok pesantren Suryalaya. Metode penelitian yang digunakan adalah metode penelitian kualitatif dengan perspektif semiotika Roland Barthes. Teknik pengumpulan data berupa analisis Tekstual, wawancara, dan studi kepustakaan. Kesimpulan secara denotatif pada logo Pondok Pesantren Suryalaya adalah mengenai kesucian lahir maupun bathin, secara konotatif logo Pondok Pesantren Suryalaya memiliki makna proses kehidupan manusia menjadi sempurna layaknya gambar kupu-kupu pada logo Pondok Pesantren Suryalaya serta pegangannya yang berupa Al-Quran dan Al-Hadist untuk menuju kesempurnaan tersebut, serta warna kuning yang menjadi simbol semangat Pondok Pesantren Suryalaya dalam menyebarkan ilmunya ke seluruh pelosok negeri. Secara mitos banyak sekali hal-hal yang diteliti misalnya gambar kupu-kupu yang menjadi sentral pada logo yang menandakan pembentukan citra pondok pesantren Suryalaya yang menginginkan pondok pesantrennya disukai orang dan ajarannya yang dapat diterima umat muslim di Indonesia maupun mancanegara.

The purpose of the present paper is to study the developments within the field of literary study and literary theory from the perspective of the notion of literature. Since the changes in theoretical discourse at the turn of the 1960 and 1970s literary criticism has become more essayistic in style and descriptive in nature, covering a wide spectrum of cultural phenomena and sharing various features previously reserved for literary or artistic activity. The initial reactions to the omnipresence of structuralism—together with its methodological limitations—resulted in original positions countering the objective modes of literary study. What is more, such standpoints, initially reflecting the counter-cultural vehemence of the times, fit into the anti-systematic tradition (Kierkegaard, Nietzsche, Derrida) which questions the borders between philosophy/theory and art/literature. In the work of such thinkers as Roland Barthes or Jacques Derrida one might observe transformations of the approach to understanding the object of study, the purpose of literary criticism or the way of reading literature. As a result, it is interesting to analyse the selected examples of post-1960s critical discourses in order to determine their traits and possible similarities or differences shared with literary discourse and verify their usefulness for literary study. Particular attention is paid to the work of Barthes, Derrida and post-modern thinking in the light of crossing borders and opening up new territories for interpretation in literary and culture studies. Therefore, such concepts as literature, style, and theory are analysed in the context of contemporary theoretical discourse.KeywordsLiterary StudyLiterary CriticismLiterary WorkLiterary TheoryLiterary TextThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Roland Barthes persistently focused on the concept of the ”Neuter” throughout his career as a writer and critic. In his early days, he commented extensively on Camus' ”L' Etranger” (The Stranger); later on, he advocated “Writing Degree Zero”; in his old age, as Chair of Literary Semiology in College de France, he reflected once again on the ”Neuter,” which involves the issues of aesthetics, including language, hermeneutics, and belles-lettres. This paper tries to place Barthes' discourse of aesthetic neutrality, or Writing Degree Zero, in context. By tracing the genealogy of this concept, this paper hopes to shed light on Barthes' approach and purpose in forming this discourse and the applicability of this concept as a literary criterion.

A Cultural Ambassador East and West: J. Hillis Miller’s <i>Lectures in China</i>

The purpose of this study was to analyze the structure of the traditional wedding ceremony and the White Crocodile performance in Curug Dahu Village. Signifying the concept of denotation and connotation of the White Crocodile in the traditional wedding ceremony in Curug Dahu Village, and analyzing the relationship between the White Crocodile communication elements to the phenomenon of polygamy in the Curug Dahu village. The research method used is a qualitative research method. The data collection technique was carried out starting with literature study, observation and interviews accompanied by documentation. The object of this research is the White Crocodile in a Sundanese traditional ceremony in Curug Dahu Village. This research uses Roland Barthes' Semiotics theory. Decoding the codes and identifying the denotations that have been formed are obtained at the primary level (denotation), White Crocodile is an image of fertility and fidelity in marriage, while at the secondary level of meaning (connotation) White Crocodile is an effort to carry out religious orders, in this case Islam is the majority of the people of Kampung Curug Dahu. Keywords: Polygamy, Roland Barthes, Social Criticism. White Crocodile.