By I Nyoman Darma Putra
A Literary mirror is the 1st English-language paintings to comprehensively examine Indonesian-language literature from Bali from a literary and cultural standpoint. It covers the interval from 1920 to 2000. this can be an exceptionally wealthy box for study into the methods Balinese view their tradition and the way they reply to exterior cultural forces. This paintings enhances the massive variety of present experiences of Bali and its background, anthropology, conventional literature, and the acting arts. A Literary Mirror is a useful source for these gaining knowledge of twentieth-century Balinese authors who wrote in Indonesian. beforehand, such writers have bought little or no realization within the latest literature. An appendix supplies brief biographical info of many major writers and lists their paintings. complete textual content (Open entry)
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Additional info for A literary mirror : Balinese reflections on modernity and identity in the twentieth century
The colonial period saw five periodicals published in Bali by social organizations whose members were mainly educated Balinese, such as teachers and administrative officials in the Dutch bureaucracy. They included Shanti Adnjana (The voice of peace), Bali Adnjana (The voice of Bali), Surya Kanta (The beautiful sun) from the 1920s, and Bhawanegara (The expression of nationhood) and Djatajoe (The Messenger) from the 1930s. They all used the Malay or Indonesian The development of Indonesian literature from Bali 31 language, but occasionally included articles in Balinese or in Dutch.
The author’s name is not mentioned. ) 6 The development of Indonesian literature from Bali 37 appears that for Surya Kanta, the content of the play – attacking the caste system and promoting new ideas of Balinese identity based on personal achievement – was more important than the identity of the writer. There is no information as to whether the play was ever performed. During the inter-war period, however, it was quite common to use plays like this, containing strong messages and social commentary on Indonesia as propaganda tools or as a medium for communicating ideas of modernity and nationalism (Bagus 1996:103; Bodden 1997:332-3).
One distinctive characteristic of their work is the explicit discussion of sexuality (Marching 2007; Bodden and Hellwig 2007), and their writing is starting to rectify the perceived gender imbalance within Indonesian literature from a situation of dominance by male writers 19 ‘[T]hen there is only one word: resist’. This poem is quoted in full in Derks 1996c:42-52. For a discussion of Wiji Thukul’s works, see also Sen and Hill (2000:42-4) and Herlambang (2005). Introduction 25 (Hatley 2002; I. Campbell 2002:45-52).