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Concise Ancient History of Indonesia.Pdf
CONCISE ANCIENT HISTORY OF INDONESIA CONCISE ANCIENT HISTORY O F INDONESIA BY SATYAWATI SULEIMAN THE ARCHAEOLOGICAL FOUNDATION JAKARTA Copyright by The Archaeological Foundation ]or The National Archaeological Institute 1974 Sponsored by The Ford Foundation Printed by Djambatan — Jakarta Percetakan Endang CONTENTS Preface • • VI I. The Prehistory of Indonesia 1 Early man ; The Foodgathering Stage or Palaeolithic ; The Developed Stage of Foodgathering or Epi-Palaeo- lithic ; The Foodproducing Stage or Neolithic ; The Stage of Craftsmanship or The Early Metal Stage. II. The first contacts with Hinduism and Buddhism 10 III. The first inscriptions 14 IV. Sumatra — The rise of Srivijaya 16 V. Sanjayas and Shailendras 19 VI. Shailendras in Sumatra • •.. 23 VII. Java from 860 A.D. to the 12th century • • 27 VIII. Singhasari • • 30 IX. Majapahit 33 X. The Nusantara : The other islands 38 West Java ; Bali ; Sumatra ; Kalimantan. Bibliography 52 V PREFACE This book is intended to serve as a framework for the ancient history of Indonesia in a concise form. Published for the first time more than a decade ago as a booklet in a modest cyclostyled shape by the Cultural Department of the Indonesian Embassy in India, it has been revised several times in Jakarta in the same form to keep up to date with new discoveries and current theories. Since it seemed to have filled a need felt by foreigners as well as Indonesians to obtain an elementary knowledge of Indonesia's past, it has been thought wise to publish it now in a printed form with the aim to reach a larger public than before. -
Echoes of Pacific War
ECHOES of Pacific War Edited by Deryck Scarr, Niel Gunson, Jennifer Terrell Echoes of Pacific War Edited by Deryck Scarr, Niel Gunson, Jennifer Terrell Papers from the 7th Tongan History Conference held in Canberra in January 1997 TARGET OCEANIA CANBERRA 1998 © Deryck Scarr, Niel Gunson, Jennifer Terrell 1998 This work is copyright. Apart from any fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, no part may be reproduced by any process without written permission. Book and cover design by Jennifer Terrell Printed by ANU Printing and Publishing Service ISBN 0-646-36000-0 Published by TARGET OCEANIA c/ o Division of Pacific and Asian History Research School of Pacific and Asian Studies Australian National University Canberra, ACT 0200, Australia Contents Maps and Figures v Fo reword ix Introduction xiii 1 Behind the battle lines: Tonga in World War II EUZABETHWOOD-EILEM 1 2 Changing values and changed psychology of Tongans during and since World War II 'I. F. HELU 26 3 Airplanes and saxaphones: post-war images in the visual and peiforming arts ADRIENNE L. KAEPPIER 38 4 Tonga and Australia since Wo rld War II GARETH GRAINGER 64 5 New behaviours and migration since Wo rld War II SIOSIUA F. POUVALU LAFITANI 76 6 The churches in Tonga since World War II JOHN GARRE'IT 87 7 Introduction and development of fa mily planning in Tonga 1958-1990 HENRY IVARATURE 99 8 Analysing the emergent mi ddle class - the 1990s KERRY JAMES 110 9 Changing interpretations of the kava ritual MEREDITH FILIHIA 127 10 How To ngan is a Tongan? Cultural authenticity revisited HELEN MORTON 149 Bibliograp hy 167 Index 173 Contributors 182 Maps Map 1: TheTonga Islands vii Map 2: Tongatapu 5 Map 3: Nuku'alofa 10 Figures Figure 1. -
Ka И @И Ka M Л @Л Ga Н @Н Ga M М @М Nga О @О Ca П
ISO/IEC JTC1/SC2/WG2 N3319R L2/07-295R 2007-09-11 Universal Multiple-Octet Coded Character Set International Organization for Standardization Organisation Internationale de Normalisation Международная организация по стандартизации Doc Type: Working Group Document Title: Proposal for encoding the Javanese script in the UCS Source: Michael Everson, SEI (Universal Scripts Project) Status: Individual Contribution Action: For consideration by JTC1/SC2/WG2 and UTC Replaces: N3292 Date: 2007-09-11 1. Introduction. The Javanese script, or aksara Jawa, is used for writing the Javanese language, the native language of one of the peoples of Java, known locally as basa Jawa. It is a descendent of the ancient Brahmi script of India, and so has many similarities with modern scripts of South Asia and Southeast Asia which are also members of that family. The Javanese script is also used for writing Sanskrit, Jawa Kuna (a kind of Sanskritized Javanese), and Kawi, as well as the Sundanese language, also spoken on the island of Java, and the Sasak language, spoken on the island of Lombok. Javanese script was in current use in Java until about 1945; in 1928 Bahasa Indonesia was made the national language of Indonesia and its influence eclipsed that of other languages and their scripts. Traditional Javanese texts are written on palm leaves; books of these bound together are called lontar, a word which derives from ron ‘leaf’ and tal ‘palm’. 2.1. Consonant letters. Consonants have an inherent -a vowel sound. Consonants combine with following consonants in the usual Brahmic fashion: the inherent vowel is “killed” by the PANGKON, and the follow- ing consonant is subjoined or postfixed, often with a change in shape: §£ ndha = § NA + @¿ PANGKON + £ DA-MAHAPRANA; üù n. -
The Influence of Hindu, Buddhist, and Chinese Culture on the Shapes of Gebyog of the Javenese Traditional Houses
Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.79, 2019 The Influence of Hindu, Buddhist, and Chinese Culture on the Shapes of Gebyog of the Javenese Traditional Houses Joko Budiwiyanto 1 Dharsono 2 Sri Hastanto 2 Titis S. Pitana 3 Abstract Gebyog is a traditional Javanese house wall made of wood with a particular pattern. The shape of Javanese houses and gebyog develop over periods of culture and government until today. The shapes of gebyog are greatly influenced by various culture, such as Hindu, Buddhist, Islamic, and Chinese. The Hindu and Buddhist influences of are evident in the shapes of the ornaments and their meanings. The Chinese influence through Islamic culture developing in the archipelago is strong, mainly in terms of the gebyog patterns, wood construction techniques, ornaments, and coloring techniques. The nuance has been felt in the era of Majapahit, Demak, Mataram and at present. The use of ganja mayangkara in Javanese houses of the Majapahit era, the use of Chinese-style gunungan ornaments at the entrance to the Sunan Giri tomb, the saka guru construction technique of Demak mosque, the Kudusnese and Jeparanese gebyog motifs, and the shape of the gebyog patangaring of the house. Keywords: Hindu-Buddhist influence, Chinese influence, the shape of gebyog , Javanese house. DOI : 10.7176/ADS/79-09 Publication date: December 31st 2019 I. INTRODUCTION Gebyog , according to the Javanese-Indonesian Dictionary, is generally construed as a wooden wall. In the context of this study, gebyog is a wooden wall in a Javanese house with a particular pattern. -
Proposal for a Gurmukhi Script Root Zone Label Generation Ruleset (LGR)
Proposal for a Gurmukhi Script Root Zone Label Generation Ruleset (LGR) LGR Version: 3.0 Date: 2019-04-22 Document version: 2.7 Authors: Neo-Brahmi Generation Panel [NBGP] 1. General Information/ Overview/ Abstract This document lays down the Label Generation Ruleset for Gurmukhi script. Three main components of the Gurmukhi Script LGR i.e. Code point repertoire, Variants and Whole Label Evaluation Rules have been described in detail here. All these components have been incorporated in a machine-readable format in the accompanying XML file named "proposal-gurmukhi-lgr-22apr19-en.xml". In addition, a document named “gurmukhi-test-labels-22apr19-en.txt” has been provided. It provides a list of labels which can produce variants as laid down in Section 6 of this document and it also provides valid and invalid labels as per the Whole Label Evaluation laid down in Section 7. 2. Script for which the LGR is proposed ISO 15924 Code: Guru ISO 15924 Key N°: 310 ISO 15924 English Name: Gurmukhi Latin transliteration of native script name: gurmukhī Native name of the script: ਗੁਰਮੁਖੀ Maximal Starting Repertoire [MSR] version: 4 1 3. Background on Script and Principal Languages Using It 3.1. The Evolution of the Script Like most of the North Indian writing systems, the Gurmukhi script is a descendant of the Brahmi script. The Proto-Gurmukhi letters evolved through the Gupta script from 4th to 8th century, followed by the Sharda script from 8th century onwards and finally adapted their archaic form in the Devasesha stage of the later Sharda script, dated between the 10th and 14th centuries. -
Pramoedya's Developing Literary Concepts- by Martina Heinschke
Between G elanggang and Lekra: Pramoedya's Developing Literary Concepts- by Martina Heinschke Introduction During the first decade of the New Order, the idea of the autonomy of art was the unchallenged basis for all art production considered legitimate. The term encompasses two significant assumptions. First, it includes the idea that art and/or its individual categories are recognized within society as independent sub-systems that make their own rules, i.e. that art is not subject to influences exerted by other social sub-systems (politics and religion, for example). Secondly, it entails a complex of aesthetic notions that basically tend to exclude all non-artistic considerations from the aesthetic field and to define art as an activity detached from everyday life. An aesthetics of autonomy can create problems for its adherents, as a review of recent occidental art and literary history makes clear. Artists have attempted to overcome these problems by reasserting social ideals (e.g. as in naturalism) or through revolt, as in the avant-garde movements of the twentieth century which challenged the aesthetic norms of the autonomous work of art in order to relocate aesthetic experience at a pivotal point in relation to individual and social life.* 1 * This article is based on parts of my doctoral thesis, Angkatan 45. Literaturkonzeptionen im gesellschafipolitischen Kontext (Berlin: Reimer, 1993). I thank the editors of Indonesia, especially Benedict Anderson, for helpful comments and suggestions. 1 In German studies of literature, the institutionalization of art as an autonomous field and its aesthetic consequences is discussed mainly by Christa Burger and Peter Burger. -
Polyvocal Tongan Barkcloths: Contemporary Ngatu and Nomenclature at the Museum of New Zealand Te Papa Tongarewa
Tuhinga 24: 85–104 Copyright © Te Papa Museum of New Zealand (2013) Polyvocal Tongan barkcloths: contemporary ngatu and nomenclature at the Museum of New Zealand Te Papa Tongarewa Billie Lythberg Mira Szászy Research Centre for Mäori and Pacific Economic Development, University of Auckland, Auckland, New Zealand ([email protected]) ABSTRACT: The Museum of New Zealand Te Papa Tongarewa (Te Papa) collects and exhibits Tongan barkcloth (ngatu) to illustrate curatorial narratives about Pacific peoples in New Zealand. I discuss the materiality and provenances of five ngatu at Te Papa, their trajectories into the museum’s Pacific Cultures collection and, where relevant, how they have been exhibited. I consider the role of Tongan curators and communities in determining how, when and which ngatu will enter the collection, and how Tongan identity will be imaged by the objects. The paper concludes with a close examination of contemporary descriptive and evaluative nomenclature for ngatu made with synthetic materials, including examples at Te Papa. KEYWORDS: Te Papa, Pacific Cultures collection, ngatu, barkcloths, Tonga, New Zealand, nomenclature. Introduction values by Polynesians, the ways in which Polynesian and Western popular culture have melded, and also the The Pacific Cultures collection at the Museum of New possibilities presented by these transactions (Refiti 1996: Zealand Te Papa Tongarewa (Te Papa) includes Tongan bark- 124).1 As well as being a literal descriptor of the multiple cloths (ngatu) representative of material and technological and overlapping Tongan systems of nomenclature for innovation, significant historical events, and the confluence contempo rary ngatu (see Table 1), the term polyvocal encom- of seemingly divergent Tongan and museological politics passes the many voices employed to talk about bark- of prestige. -
Archipel, 100 | 2020 [En Ligne], Mis En Ligne Le 30 Novembre 2020, Consulté Le 21 Janvier 2021
Archipel Études interdisciplinaires sur le monde insulindien 100 | 2020 Varia Édition électronique URL : http://journals.openedition.org/archipel/2011 DOI : 10.4000/archipel.2011 ISSN : 2104-3655 Éditeur Association Archipel Édition imprimée Date de publication : 15 décembre 2020 ISBN : 978-2-910513-84-9 ISSN : 0044-8613 Référence électronique Archipel, 100 | 2020 [En ligne], mis en ligne le 30 novembre 2020, consulté le 21 janvier 2021. URL : http://journals.openedition.org/archipel/2011 ; DOI : https://doi.org/10.4000/archipel.2011 Ce document a été généré automatiquement le 21 janvier 2021. Association Archipel 1 SOMMAIRE In Memoriam Alexander Ogloblin (1939-2020) Victor Pogadaev Archipel a 50 ans La fabrique d’Archipel (1971-1982) Pierre Labrousse An Appreciation of Archipel 1971-2020, from a Distant Fan Anthony Reid Echos de la Recherche Colloque « Martial Arts, Religion and Spirituality (MARS) », 15 et 16 juillet 2020, Institut de Recherches Asiatiques (IRASIA, Université d’Aix-Marseille) Jean-Marc de Grave Archéologie et épigraphie à Sumatra Recent Archaeological Surveys in the Northern Half of Sumatra Daniel Perret , Heddy Surachman et Repelita Wahyu Oetomo Inscriptions of Sumatra, IV: An Epitaph from Pananggahan (Barus, North Sumatra) and a Poem from Lubuk Layang (Pasaman, West Sumatra) Arlo Griffiths La mer dans la littérature javanaise The Sea and Seacoast in Old Javanese Court Poetry: Fishermen, Ports, Ships, and Shipwrecks in the Literary Imagination Jiří Jákl Autour de Bali et du grand Est indonésien Śaivistic Sāṁkhya-Yoga: -
Figurative Language in Amir Hamzah's Poems
Novia Khairunnisa, I Wy Dirgeyasa, Citra Anggia Putri Linguistica Vol. 09, No. 01, March 2020, (258-266) FIGURATIVE LANGUAGE IN AMIR HAMZAH’S POEMS 1 2 3 NOVIA KHAIRUNISA . I WY DIRGEYASA , CITRA ANGGIA PUTRI 123 UNIVERSITAS NEGERI MEDAN Abstract This study dealt with figurative language in Amir Hamzah’s selected poems. The objective of this study were to investigate the types of figurative language found in Amir Hamzah’s selected poems and to find out the literal meaning of figurative language found. This study was conducted by using qualitative method to solve the problems. The data of this study were phrases and sentences contained figurative language in the poems. The sources of data were six poems poems which had multiple series taken from Amir Hamzah’s Poetry Anthology of Buah Rindu. The data were selected by using random sampling technique. For collecting the data, this study used documentary technique, and the instruments of data were documentary sheets. The data were analyzed by using descriptive qualitative method. The findings of this study are there twenty two figurative languages found as follows, three figurative language of metaphor (13.63%), seven figurative language of hyperbole (31.81%), five figurative language of personification (22.72%) and seven figurative language of simile (31.83%). The literal meaning of figurative language found in Amir Hamzah’s poems were basically was about the love story of Amir himself and also talking about his longing to his mother. Keywords : Figurative Language, Figure of Speech, Poem INTRODUCTION Poem is a literary work in patterned language. It can also be said as the art of rhythmical composition. -
Ahom Range: 11700–1174F
Ahom Range: 11700–1174F This file contains an excerpt from the character code tables and list of character names for The Unicode Standard, Version 14.0 This file may be changed at any time without notice to reflect errata or other updates to the Unicode Standard. See https://www.unicode.org/errata/ for an up-to-date list of errata. See https://www.unicode.org/charts/ for access to a complete list of the latest character code charts. See https://www.unicode.org/charts/PDF/Unicode-14.0/ for charts showing only the characters added in Unicode 14.0. See https://www.unicode.org/Public/14.0.0/charts/ for a complete archived file of character code charts for Unicode 14.0. Disclaimer These charts are provided as the online reference to the character contents of the Unicode Standard, Version 14.0 but do not provide all the information needed to fully support individual scripts using the Unicode Standard. For a complete understanding of the use of the characters contained in this file, please consult the appropriate sections of The Unicode Standard, Version 14.0, online at https://www.unicode.org/versions/Unicode14.0.0/, as well as Unicode Standard Annexes #9, #11, #14, #15, #24, #29, #31, #34, #38, #41, #42, #44, #45, and #50, the other Unicode Technical Reports and Standards, and the Unicode Character Database, which are available online. See https://www.unicode.org/ucd/ and https://www.unicode.org/reports/ A thorough understanding of the information contained in these additional sources is required for a successful implementation. -
Kebudayaan Megalitik Di Sulawesi Selatan Dan Hubungannya Dengan Asia Tenggara
KEBUDAYAAN MEGALITIK DI SULAWESI SELATAN DAN HUBUNGANNYA DENGAN ASIA TENGGARA HASANUDDIN UNIVERSITI SAINS MALAYSIA 2015 KEBUDAYAAN MEGALITIK DI SULAWESI SELATAN DAN HUBUNGANNYA DENGAN ASIA TENGGARA Oleh HASANUDDIN Tesis yang diserahkan untuk memenuhi keperluan bagi Ijazah Doktor Falsafah SEPTEMBER 2015 PENGHARGAAN Syukur Alhamdulillah penulis ucapkan kepada Allah SWT kerana dengan curahan rahmat dan hidayah-Nya tesis ini dapat diselesaikan. Salam dan selawat disampaikan kepada Nabi Muhammad SAW dan para sahabat sebagai suri tauladan yang baik dalam mengarungi kehidupan ini.Tesis ini diselesaikan dengan baik oleh kerana bimbingan, bantuan, sokongan, dan kerjasama yang baik dari beberapa pihak dan individu. Oleh kerana itu, penulis merakamkan ucapan terima kasih yang tidak terhingga kepada Profesor Dr. Stephen Chia Ming Soon, Timbalan Pengarah Pusat Penyelidikan Arkeologi Global, Universiti Sains Malaysia, Pulau Pinang sebagai penyelia penulis. Tanpa pernah merasa jemu beliau membimbing, dan memberi tunjuk ajar kepada penulis sepanjang penyelidikan sehingga penyelesaian tesis ini. Beliau telah membantu penulis dalam kerja lapangan, pentarikhan dan membantu dalam hal kewangan.Terima kasih tidak terhingga juga disampaikan kepada Profesor Dato’ Dr. Mohd. Mokhtar bin Saidin, Pengarah Pusat Penyelidikan Arkeologi Global, Universiti Sains Malaysia, Pulau Pinang yang telah memberikan kesempatan kepada penulis untuk menjalankan kajian di Pusat Penyelidikan Arkeologi Global di Pulau Pinang Malaysia. Beliau sentiasa memberikan nasihat, dorongan dan semangat dalam melakukan kajian ini. Penulis juga mengucapkan terima kasih kepada kakitangan Institut Pengajian Siswazah, Universiti Sains Malaysia yang sentiasa memberikan bimbingan terutamanya dekan serta kakitangan institut. Penulis merakamkan setinggi-tinggi terima kasih kepada kakitangan akademik Pusat Penyelidikan Arkeologi Global, Universiti Sains Malaysia yang sentiasa bersedia menghulurkan bantuan dan buah fikiran terutamanya kepada Dr. -
The Word Formation of Panyandra in Javanese Wedding
The Word Formation of Panyandra in Javanese Wedding Rahutami Rahutami and Ari Wibowo Program Studi Pendidikan Bahasa dan Sastra Indonesia, Fakultas Bahasa dan Sastra, Universitas Kanjuruhan Malang, Jl. S. Supriyadi 48 Malang 65148, Indonesia [email protected] Keywords: Popular forms, literary forms, panyandra. Abstract: This study aims to describe the form of speech in the Javanese wedding ceremony. For this purpose, a descriptive kualitatif methode with 'direct element' analysis of the word panyandra is used. The results show that there are popular forms of words and literary words. Vocabulary can be invented form and a basic form. The popular form is meant to explain to the listener, while the literary form serves to create the atmosphere the sacredness of Javanese culture. The sacredness was built with the use of the Old Javanese affixes. Panyandra in Malang shows differences with panyandra used in other areas, especially Surakarta and Jogjakarta style. 1 INTRODUCTION The panyadra are the words used in various Javanese cultural events. These words serve to describe events by using a form that has similarities Every nation has a unique culture. Each ethnic has a ritual in life, for example in a wedding ceremony or parallels (pepindhan). Panyandra can be distinguished by cultural events, such as birth, death, (Rohman & Ismail, 2013; Safarova, 2014). A or marriage. These terms adopt many of the ancient wedding ceremony is a sacred event that has an important function in the life of the community, and Javanese vocabulary and Sanskrit words. It is intended to give a formal, religious, and artistic each wedding procession shows a way of thinking impression.