A Comparative Study of Pramoedya Ananta Toer's
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Guide to the Asian Collections at the International Institute of Social History
Guide to the Asian Collections at the International Institute of Social History Emile Schwidder & Eef Vermeij (eds) Guide to the Asian Collections at the International Institute of Social History Emile Schwidder Eef Vermeij (eds) Guide to the Asian Collections at the International Institute of Social History Stichting beheer IISG Amsterdam 2012 2012 Stichting beheer IISG, Amsterdam. Creative Commons License: The texts in this guide are licensed under the terms of the Creative Commons Attribution-Noncommercial 3.0 license. This means, everyone is free to use, share, or remix the pages so licensed, under certain conditions. The conditions are: you must attribute the International Institute of Social History for the used material and mention the source url. You may not use it for commercial purposes. Exceptions: All audiovisual material. Use is subjected to copyright law. Typesetting: Eef Vermeij All photos & illustrations from the Collections of IISH. Photos on front/backcover, page 6, 20, 94, 120, 92, 139, 185 by Eef Vermeij. Coverphoto: Informal labour in the streets of Bangkok (2011). Contents Introduction 7 Survey of the Asian archives and collections at the IISH 1. Persons 19 2. Organizations 93 3. Documentation Collections 171 4. Image and Sound Section 177 Index 203 Office of the Socialist Party (Lahore, Pakistan) GUIDE TO THE ASIAN COLLECTIONS AT THE IISH / 7 Introduction Which Asian collections are at the International Institute of Social History (IISH) in Amsterdam? This guide offers a preliminary answer to that question. It presents a rough survey of all collections with a substantial Asian interest and aims to direct researchers toward historical material on Asia, both in ostensibly Asian collections and in many others. -
Teaching Tales from Djakarta.Pdf (636.2Kb)
2 Table of Contents Introduction…………………………………………………………………….………… 3 Notes on Teaching Tales from Djakarta ………………………………………………… 5 Biography ………………………………………………………………………………... 8 History ………………………………………………………………………...……...… 11 Critical Lenses ……………………………………………………………………..…... 18 Social Realism ………………………………………………….……………… 18 Colonial and Postcolonial Theory.…………………………………………..….. 21 The National Allegory ……………………………………………………….… 26 Nostalgia ……………………………………………………………...….….…. 30 Study Guide …………………………………………………………………….……… 33 Bibliography & Resources ………………………………………………………..……. 43 List of Images 1. Pramoedya, 1950’s From A Teeuw, Modern Indonesian Literature. Courtesy of KITLV . Used by permission 2. Pramoedya, 1990’s From Indonesia, 1996.Courtesy of Benedict R. O’G. Anderson and Cornell Southeast Asia Program Publications. Used by permission. 3. Indo-European woman and her children, presumably in Bandoeng Courtesy of KITLV. Used by permission. 4. Ketjapi player in Jakarta Courtesy of KITLV. Used by permission. 5. G.E. Raket and his girlfriend, presumably in Batavia Courtesy of KITLV. Used by permission. 6. Prostitute with child camping in and underneath old railway carriages at Koningsplein-Oost [East King's Square] in Jakarta Courtesy of KITLV. Used by permission 3 Introduction Pramoedya Ananta Toer has long been one of the most articulate voices coming from decolonized Indonesia. A prolific author, Pramoedya has written short fiction, novels, histories, and social and cultural commentary about his native land. He is frequently mentioned as a leading candidate for the Nobel Prize in Literature. Pramoedya’s perennial candidacy for this award is almost certainly based on his epic tetralogy about the birth of Indonesian nationalism, the Buru quartet. In these novels, which tell the story of Raden Mas Minke, a native journalist and founding member of several political and social organizations in the Indies, Pramoedya draws a vivid picture of the colonial period: approximately 1900-1915. -
Multatuli, 1860)
COPYRIGHT NOTICE: Edited by Franco Moretti: The Novel, Volume 2: Forms and Themes is published by Princeton University Press and copyrighted, © 2006, by Princeton University Press. All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher, except for reading and browsing via the World Wide Web. Users are not permitted to mount this file on any network servers. Follow links Class Use and other Permissions. For more information, send email to: [email protected] BENEDICT ANDERSON Max Havelaar (Multatuli, 1860) These were truly four anni mirabiles. In 1818 were born Ivan Turgenev and Emily Brontë, in 1819, Herman Melville and George Eliot; and in 1821, Fy odor Dostoevsky and Gustave Flaubert. Right in the middle, in 1820, came Eduard Douwes Dekker, better known by his nom de plume, Multatuli. His novel Max Havelaar, which over the past 140 years has been translated into more than forty languages and has given him a certain international rep utation, appeared in 1860. It was thus sandwiched between, on the one side, On the Eve (1860), The Mill on the Floss (1860), George Sand’s Le marquis de Villemer (1860), Great Expectations (1860–61) Adam Bede, The Confi dence Man, Madame Bovary, and Oblomov (all in 1857); and on the other, Silas Marner (1861), Fathers and Sons, Salammbo, and Les misérables (1862), War and Peace (starting in 1865), and Crime and Punishment (1866). This was the generation in which Casanova’s “world republic of letters,” subdivi sion the novel, hitherto dominated by French and British males, was first profoundly challenged from its margins: by formidable women in the Channel-linked cores and by extraordinary figures from beyond the Atlantic and across the steppe. -
C'est Grâce À Un Romancier De Hollande Que Max Havelaar Existe
Le Matin Dimanche 15 mars 2020 Acteurs 21 C’est grâce à un romancier de Hollande que Max Havelaar existe ● Max Havelaar n’est pas un pionnier du commerce équitable, mais le titre d’un livre hollandais paru en 1860. Les 200 ans de la naissance de son auteur, Multatuli, sont l’occasion de remonter aux sources du combat anticolonialiste. IVAN RADJA [email protected] Ce buste, en plein cœur d’Amsterdam, parle à tous les Hollandais et laisse sans doute de marbre l’écrasante majorité des touristes. Multatuli? Inscrivez-le aux abonnés absents de la mémoire collective européenne. Et pourtant: à chaque fois que vous achetez une livre de café, des ba- nanes, du sucre brut, du miel ou des avo- cats labellisés Max Havelaar, ou Fairtrade, c’est à lui que vous le devez. De son vrai nom Eduard Douwes Dekker (1820-1887), ce fonctionnaire hollandais parti dès l’âge de 18 ans pour les Indes néerlandaises, en Indonésie, est l’auteur du livre «Max Havelaar», publié en 1860, considéré comme le premier brûlot anti- colonialiste de la littérature. Huit ans plus tôt, «La case de l’oncle Tom», de l’écrivaine Multatuli, littérale- abolitionniste Harriet Beecher Stowe, ré- ment «J’ai beau- quisitoire contre le traitement réservé aux coup enduré». esclaves des plantations de coton du sud C’est sous ce pseu- des États-Unis, une forme de «colonia- donyme qu’Eduard lisme intérieur», avait fait grand bruit. Douwes Dekker pu- blia le roman «Max Oppression des Javanais au XIXe siècle Havelaar» en 1860. Dekker l’a-t-il lu? Probablement, bien qu’il À droite, gravure n’y ait aucune certitude sur ce point. -
Pramoedya Ananta Toer (1953)
Pramoedya Ananta Toer (1953) [Reprinted from A . Teeuw, Modern Indonesian Literature (The Hague: Nijhoff, 1967)] PERBURUAN 1950 AND KELUARCA GERILYA 1950* Pramoedya Ananta Toer Translated by Benedict Anderson I've been asked: what is the creative process for me, as a writer? This is not an easy question to answer. Whether "formulated" or not, the creative process is always a very private and personal experience. Each writer will have his own ex perience, again whether "formulated" or not. I've been asked to detail the creative process which produced the novels Perburuan [The Fugitive] and Keluarga Gerilya [Th e Guerrilla Family]. Very well. I'll answer— even though there's no real need for other people to know what goes on in my private kitchen. My willingness to respond in this instance is based purely on the public's right to some comparisons . to limit undue onesidedness. 1948. I was 23 at the time— a pemuda who believed wholeheartedly in the nobil ity of work— any kind of work— who felt he could accomplish^ anything, and who dreamed of scraping the sky and scooping the belly of the earth: a pemuda who had only just begun his career as a writer, publicist, and reporter. As it turned out, all of this was nullified by thick prison walls. My life was regulated by a schedule determined by authorities propped up by rifles and bayonets. Forced labor outside the jail, four days a week, and getting cents for a full day's labor. Not a glimmer of light yet as to when the war of words and arms between the Re public and the Dutch would end. -
Postcolonial Analysis on Multatuli's Max Havelaar
JELLT, VOL 2, NO 2 Desember 2017 printed ISSN : 2548-7728 E- ISSN: 2599-0373 POSTCOLONIAL ANALYSIS ON MULTATULI’S MAX HAVELAAR Herminus Efrando Pabur ABSTRACT This work aims at sharing a postcolonial analysis on the content and the message in Max Havelaar written by Mulatuli in 1859 in Belgia and then published in Dutch in 1860. Max Havelaar could be assumed as a postcolonial literary work. Besides applying the postcolonial theory, the anthropology theory is also considered being used in the analysis process. The finding shows that Max Havelaar is clearly a postcolonial literary work. Despite basing on its year of publication and place of publication, Max Havelaar is hard to be categorized as a postcolonial literary work. However, its content, message, and author‘s background, Max Havelaar can be viewed as a postcolonial literary work. The finding also reveals that Max Havelaar has a unique and strong characteristic namely the ability to move the sense of humanity of its readers especially for those are facing colonialization. Keywords: Max Havelaar, Postcolonial Literature.Multatuli Introduction Nowadays literature becomes more interesting. It is because literature offers many things: moral value, new knowledge and even entertainment. By the benefit given by literature many people started to like literature. An important point to be noted regarding the literature (literary works: Poem, Novel and Drama) is its function as ‗mirror‘ (Gann, 2012). It means that literary works reflect the life of people or reflect the society. Maru in his dissertation entitled Puritanism in American Presidents: A Study on The Inaugural Addresses from Reagan to Obama (2013) quoting Tate stated, ―Many of the forces at work in the fiction are clearly social origin‖ (p.38). -
Kajian Feminisme Dalam Novel “Bumi Manusia” Karya Pramoedya Ananta Toer
Jurnal Simki Pedagogia, Volume 4 Issue 2, 2021, Pages 159-168 Available online at: https://jiped.org/index.php/JSP ISSN (Online) 2599-073X Kajian Feminisme dalam Novel “Bumi Manusia” Karya Pramoedya Ananta Toer Ajeng Ayuning Tyas [email protected] Program Studi Pendidikan Bahasa dan Sastra Indonesia Universitas PGRI Wiranegara Received: 10 07 2021. Revised: 24 07 2021. Accepted: 03 08 2021. Abstract : The problem in this research is how the structural elements in the novel Bumi Manusia by Pramoedya Ananta Toer and how socialist feminism forms in the novel Bumi Manusia by Pramoedya Ananta Toer. The purpose of writing this scientific paper is to describe the structural elements in Pramoedya Ananta Toer's novel Bumi Manusia and to describe the form of socialist feminism in Pramoedya Ananta Toer's novel Bumi Manusia. The method used in this scientific work is a qualitative descriptive method. The data in this study are written text data related to the structural elements and forms of socialist feminism in the novel Bumi Manusia by Pramoedya Ananta Toer. The source of the data in this research is the novel Bumi Manusia by Pramoedya Ananta Toer. Data collection uses reading and note-taking methods. The result of this research is that there are structural elements (themes, characterizations, setting, plot, point of view, and mandate) and socialist feminism in Pramoedya Ananta Toer's novel Bumi Manusia. Keywords : Socialist feminism, Novel bumi manusia Abstrak : Masalah yang ada dalam penelitian ini adalah bagaimana unsur struktural pada novel Bumi Manusia karya Pramoedya Ananta Toer dan bagaimana bentuk feminisme sosialis dalam novel Bumi Manusia karya Pramoedya Ananta Toer. -
SETTING HISTORY STRAIGHT? INDONESIAN HISTORIOGRAPHY in the NEW ORDER a Thesis Presented to the Faculty of the Center for Inte
SETTING HISTORY STRAIGHT? INDONESIAN HISTORIOGRAPHY IN THE NEW ORDER A thesis presented to the faculty of the Center for International Studies of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Sony Karsono August 2005 This thesis entitled SETTING HISTORY STRAIGHT? INDONESIAN HISTORIOGRAPHY IN THE NEW ORDER by Sony Karsono has been approved for the Department of Southeast Asian Studies and the Center for International Studies by William H. Frederick Associate Professor of History Josep Rota Director of International Studies KARSONO, SONY. M.A. August 2005. International Studies Setting History Straight? Indonesian Historiography in the New Order (274 pp.) Director of Thesis: William H. Frederick This thesis discusses one central problem: What happened to Indonesian historiography in the New Order (1966-98)? To analyze the problem, the author studies the connections between the major themes in his intellectual autobiography and those in the metahistory of the regime. Proceeding in chronological and thematic manner, the thesis comes in three parts. Part One presents the author’s intellectual autobiography, which illustrates how, as a member of the generation of people who grew up in the New Order, he came into contact with history. Part Two examines the genealogy of and the major issues at stake in the post-New Order controversy over the rectification of history. Part Three ends with several concluding observations. First, the historiographical engineering that the New Order committed was not effective. Second, the regime created the tools for people to criticize itself, which shows that it misunderstood its own society. Third, Indonesian contemporary culture is such that people abhor the idea that there is no single truth. -
Nasionalisme Kulit Putih: Ernest Douwes Dekker Malaikat Pemberani
Nasionalisme Kulit Putih: Ernest Douwes Dekker Malaikat Pemberani Samingan e-mail: [email protected] Program Studi Pendidikan Sejarah, FKIP, Universitas Flores ABSTRAK: Permasalahan dalam penelitian ini bagaimana bentuk nasionalisme orang Indo Ernest Douwes Dekker untuk memperjuangkan kesetaraan antara semua lapisan dengan orang Eropa. Lewat perjuangan yang berliku-liku mengalami berbagai pembuangan telah melahirkan rasa nasionalisme sebagai dasar pinjakan untuk Indonesia Merdeka. Tujuan penelitian adalah untuk mengetahui bagaimana bentuk nasionalisme Ernest Douwes Dekker yang diperjuangkan mencapai kesetaraan antara orang kulit putih Eropa dengan orang pribumi dan orang Indo. Metode yang digunakan dalam penelitian ini menggunakan metode Sejarah (historical method). Adapun langkah-langkah yang digunakan dalam penelitian ini, yaitu pertama adalah mengumpulkan sumber (heuristik), ke dua adalah kritik sumber atau verifikasi, langkah ke tiga adalah interpretasi, langkah ke empat rekontruksi historiografi (penulisan) sejarah. Hasil penelitian menunjukkan bahwa: Douwes Dekker merupakan seorang keturunan Belanda. Keprihatinannya atas penindasan bangsa kolonial terhadap kaum Pribumi mengetuk hati nuraninya untuk memperjuangkan kaum Indo (Keturunan Belanda) Pribumi dari segala diskriminasi. Langkah nyata yang ditempuh Douwes Dekker guna menyuarakan aspirasinya ditempuh dengan mendirikan partai politik atau dikenal dengan Indische Partij. Tjipto dikenal menentang sistem feodal yang telah mengakar, sementara Soewardi yang merupakan -
Pramoedya Ananta Toer Translated by Harold Merrill
BLORA Pramoedya Ananta Toer Translated by Harold Merrill Saudara! Do you know what every prisoner longs for? You must know! Getting out— regaining one's freedom, living among friends, relatives, and fellow human beings. For you, maybe these words "getting out" don't arouse any impressions whatsoever. But for pris- oners and former prisoners, how sweetly stirring these words are. They have the same magical power as the national anthem. And today, saudara, how happy I am. Why shouldn't I be? The guards came running into camp. The jailer was summoned. And all that little commotion was simply for my own happiness. Here's what happened, saudara. The jailer returned from the camp office and yelled, "Pram!" I yelled back in response. And he went on, "You're being released. Gather together all your gear." Like a crow being pelted with rocks, a screech came from my mouth, Okay, okay." I ran into my cell and packed up my clothes, bedding, and eating utensils. Friends rushed in urging me to exchange clothes. And there were also many who stood at the door with lustreless eyes. There were those who congratulated me and there were others who grumbled about their own fates. And I was touched. Naturally, there are moments when human beings will be touched no matter how materialistic they are. Especially when I walked to the camp office and they held up clenched fists, yelling feebly, "Freedom! Freedom! Don't forget the prison! Don't forget the struggle." Then the piercing shout that I won't ever forget for as long as I live, "Cheese tastes good, bung.1 And condensed milk makes you blind!"2 And I couldn't respond to them one by one. -
Corruption in the Dutch–Indonesian Relationship in the Nineteenth and Early Twentieth Centuries
CHAPTER 7 Colonial Normativity? Corruption in the Dutch–Indonesian Relationship in the Nineteenth and Early Twentieth Centuries Ronald Kroeze Introduction There are many historical accounts that, one way or the other, have linked Dutch colonial rule of Indonesia to corruption. Works of histo- rians have pointed at how the existence of a variety of corrupt practices, from bribery and patronage to all kinds of “extractive institutions”, under- mined social and economic development.1 Others have paid attention to singular corruption scandals,2 or touched upon the theme of corruption in their analyses of ideological debates about decline and reform in the wake of the end of the Dutch United East India Company (Vereenigde Oostindische Compagnie/ VOC), and the emergence of the modern colo- nial state from around the year 1800.3 In the decades around 1900, R. Kroeze (B) Vrije Universiteit Amsterdam, Amsterdam, The Netherlands e-mail: [email protected] © The Author(s) 2021 173 R. Kroeze et al. (eds.), Corruption, Empire and Colonialism in the Modern Era, Palgrave Studies in Comparative Global History, https://doi.org/10.1007/978-981-16-0255-9_7 174 R. KROEZE corruption was linked to the granting and use of concession rights by big companies active in the colony,4 as well as to how public morality was understood and maintained by the colonial police.5 Even the famous novel Max Havelaar (1860), an accusation against colonial abuses written by the former colonial administrator Eduard Douwes Dekkers, can be considered as a book mainly about corruption.6 One of the rare academic texts that has colonial corruption as its main theme was written by Willem Wertheim in 1961. -
PDF Van Tekst
Over Multatuli. Delen 24-25 bron Over Multatuli. Delen 24-25. Huis aan de Drie Grachten, Amsterdam 1990 Zie voor verantwoording: https://www.dbnl.org/tekst/_ove006199001_01/colofon.php Let op: werken die korter dan 140 jaar geleden verschenen zijn, kunnen auteursrechtelijk beschermd zijn. i.s.m. 3 [Nummer 24] Sitor Situmorang Multatuli en de Indonesische cultuur Een terugblik op zijn Sumatraanse periode In 1972 kwam Multatuli's Max Havelaar voor het eerst uit in het modern Indonesisch. In zijn voorwoord bij die uitgave schreef de toenmalige Indonesische minister van onderwijs, Mashuri, over de betekenis van de Havelaar en Multatuli's optreden in de beginfase van de nationalistische beweging omstreeks de eeuwwisseling. Hij beschouwde het boek ook als een belangrijk sociaal-historisch document, daarbij doelend op de geschiedenis van het Nederlandse kolonialisme en de reactie daarop van Indonesische kant in de tweede helft van de 19e eeuw. Tegen het einde van de 19e eeuw was de Havelaar voor een groot deel van de eerste generatie van de westers opgeleide Indonesische intelligentsia op Java een eye-opener voor de realiteit van het koloniale bestel, en tevens een aanklacht tegen de eigen medeplichtigheid daaraan. De meeste, zo niet alle leden van die intelligentsia, kwamen namelijk voort uit de inheemse bestuursaristocratie, de priaji's, de klasse waartoe ook de Boepati van Lebak, Kartanegara, behoorde. Juist in de tijd dat men nieuwe westerse liberale en democratische ideeën opdeed, gaf de Havelaar nog een impuls tot een kritische kijk op de eigen medeverantwoordelijkheid in het systeem, en uiteraard op het systeem zelf. Dit leidde tot culturele bezinning, tot vragen over de eigen Adat, het geheel van ongeschreven regels waarop de traditionele maatschappij verondersteld werd te rusten, ook in de koloniale situatie.