Nama:

Nim:

Comparative Literary Research (Penelitian Komparasi Sastra)

Journal: Sastra Kajian Model Comparative Perspectives Cultural Links (Studi Kasus

Penelitian Sastra Di Asia Tenggara)

Resume:

In Southeast Asia, the study of comparative literature is well placed. According to

Sarjono's record (2013), the Southeast Asian Literary Assembly (Mastera) titled comparative

literature lectures. The classes are convened from one university to another on a regular basis in

each Mastera member state. It's been recorded that 15 literary lectures have been held. As Aziz

says (2013), comparative literature studies appear in third-world countries, for example, East

Asian countries. (Tiongkok, India, Taiwan, Korea, Jepang, dll). The emergence and passion for

the study of comparative literature in the countries of the third world almost coincided with the

weakening of the studies of Comparative Literature in Europe. In the late 1970s European

literary studies shifted to literary theory, women's studies, cultural studies, films, and media. As

time passed, comparative literature, which was once popular in the 1990s in Indonesia, also fell

in popularity. The abundance of approaches, theories, concepts, and the widespread paradigm in

looking at literary works, made the study of comparative literature begin to explode. Moreover,

the question “What is a modern literary work compared to?” from a lecturer is a deadly question;

crushing a scholar who wants to use this method in his thesis. A student once submitted a thesis
proposal to a tutor lecturer. He intends to compare the playwright Friedrich Schiller with W.S.

Rendra. He assumes that the style or story in the playwriting was influenced by Frederick

Schiller. Then the question arose, "Why is a literary work (modern) compared?" The question

arises, "If the two literary works are different or the same, then what is the significance?"

Comparing the two literary works, in this context, Germany and Indonesia, is not the wrong

thing. The student's mistake is that he doesn't have a clear purpose in his research. It makes his

research seem dry and meaningless. The students still used the method when the study of new

comparative literature began in France in the late 19th century. At that time, a group of

comparative literary promoters created the French School. Hosillos (Aziz, 2013) says that in

1886, H.M. Posnett made the principles of comparative literature. According to him,

comparative literature is the study of sources within and outside a region, like politics, which

contributes to the literary development of a nation. Characters of the French School themselves

are Joseph Texte, Fernand Badesperger, Paul van Tieghem, JeanMarie Carre, and M.F. Guyard.

Remak (Damono, 2011) explains that the domain of comparative literature studies is beyond the

boundaries of a country and other disciplines, for example art, philosophy, science, religion, and

others. More economically, this method compares the literary work of one country with another

and compares literary works with other disciplines. A comparative literature is a method, not a

theory to differentiate literary works. A researcher can use any theories or perspectives and

concepts in the differentiation of literary work, such as mesemiotic structuralism, intertextuality,

literary reception, psychoanalysis, sociology of literature, etc. Various perspectives or concepts

can be used, such as feminism, post-colonialism, postmodernism, literary currents, including

cross-cultural. Thus, research using comparative literature as an approach would be more

meaningful.
Similarities or differences are not just the end point of a study. Such similarities or differences

must be conceived by a scholar. Of course the digestion is not born intuitively, but must be based

on a certain concept or theory. Thus, research will be more in-depth and contribute to science.

Comparative Literary Studies Model with a Cross-Cultural Perspective

Shunqing (2013) realized that the study of comparative literature was experiencing a

crisis in the late 20th century. Some experts believe that comparative literary methods are

obsolete. However, is comparative literature really dead? Shunqing explicitly rejected the

statement. There is still hope to revive or make significant comparative literary methods back.

He argues that in the study of comparative literature, there must be something new to offer. The

most likely thing to “modify” comparative literary methods is to collaborate on comparative

methods with a cross-cultural study perspective. (studi budaya). Like what Shunqing (2013) says

that cross-cultural studies have two advantages. First, the study of comparative literature can be

more in-depth, and secondly, comparative study of literature will be a marker of

internationalization. In such a comparative literary study, the scholar will look at a combination

of two or more cultures and two literary works or more. So how do we apply this method in

comparative (and cross-cultural) literary studies?

In a work of course there will be many things that can be obtained, for example the style

of language, the discourse in the work, the creation of the work or sound, the form of the literary

work, reception of the reader, etc. All those elements are very likely to be the entrance to the

comparison of two literary works. A scholar's job is to focus on what he gets in one or two

literary works. For example, a scholar will focus on discourse.

 In a literary work there are many discourses, such as existentialism, discrimination,

feminism, post-colonial, violence, human rights, etc. The next task is to choose one of the

discourses that stands out or is interesting in two (or more) literary works to compare. For

example, the scholar sees the discourse of feminism or gender quite prominent in two works.

The parallel between these two novels, according to Rahmah (2012), lies in the depiction

of characters.

It's a reconstruction that the author does through language. According to Rahmah (2012),

both of these novels equally emphasize the teaching of religion from the perspective of tasawuf

and fictional sciences. However, Rahmah (2012) judges that the novel Salam Maria has

something more special than the novel From the Valley of Coolibah. It's because there's a

bibliography in this novel. This bibliography reinforces the author's view of religion. The novel

"Salam Maria" brings a solid and courageous Islamic thought. Furthermore, the novel also

carries a profound and impressive impact. It's the reverse of Titis Basino's novel that tends to be

simple; it gives a more entertaining impression. At the end of his writing, Rahmah questioned the

victory of From the Valley of Coolibah as a novel winning the 1999 Mastera Literary Prize.

According to him, the greeting of Mary is more worthy because of the superiority of the above-

mentioned. In fact, he asked certain parties to open their eyes to this novel.

The study that Rahmah did showed less than what the French School did at the end of the

19th century. At that time, as has been mentioned above, literary works were compared—the

only one—to political purposes, that is, to justify the literary work of a particular country

superior to that of another. This is what the American School is opposed to.
 Although Rahmah used a gender perspective in his studies, he did not find any cultural

characteristics embodied and represented in both literary works. The lengthy and detailed

exposure of the image of women in the two novels only reached the exposition of the similarities

and differences between the novels and ended in justification. Thus, a particular study model is

needed to make comparative literary studies more meaningful. Look at the following picture.

Figure 1. Comparative Literary Studies Model with Cross-Cultural Perspective.

Potential of Comparative Literature Studies with Intercultural Perspective in Southeast

Asia
Southeast Asia has an extraordinary cultural diversity. There are many tribes and races living in

the region.

Each of them formulates a way of life and has its own culture. This is where the cultural

diversity of Southeast Asia was created. Through literature, one can see the culture of a

community, for example, the way of life or customs of the people of Java, Sunda, Melayu,

Tionghoa, immigrant India, or coastal society in Southeast Asia. In Southeast Asia, quite a lot of

literary works, both modern and classical, represent the life of coastal communities. The study

conducted by Hamid (2012) entitled “Literature and Culture of Coastal Territories: Realities,

Challenges and Hope” needs to be continued. He saw the way the coastal people lived in Brunei.

According to him, Brunei's shoreline depicts Islamic strength, determination, and values.

However, the most emphasized things in Brunei's coastal resentment are patriotism,

nationalism, and anti-imperialism, for example, Awang Semauni's poem. According to Hamid

(2012), the Shah "shows the struggle to take over the land of the ancestors of the country's

chairmanship fund (read: Brunei) as belonging to the Malay people, then the invaders must be

eliminated.". Darma (2013) also discussed a little poetry from Brunei. Similarly to Hamid, he

said that the poetry of Brunei depicts colonialism. It is depicted in the Rakis Shair. It shows the

signs of the collapse of Brunei as a sovereign empire. The poem depicts how the British took

over the territory of Serawak and Singapore.

So what about the coastal community in Indonesia? The study conducted by Mahayana (2013)

could be the entrance to the poem of Madura known as the coastal community. In view of what

Mahayana (2013) put forward, Madura's tendency to retreat contains the philosophy of the

Madura people's life. Of course there are things to answer and consider. First of all, is there
anything from Brunei that contains the living philosophy of the Brunei people? If any, it would

be interesting to compare it to Madura's pantun. Second, is there any Madura pantun that

recorded the traces of colonialism? If there were,

Conclucion

New methods, concepts, perspectives, and theories can enrich the study of comparative

literature. One of the concepts, perspectives, and theories is a cross-cultural perspective. In this

case, the researcher can compare the two cultures that exist in the literary work. The comparison

is not only up to the similarities and differences, but the researy can exhibit the background of

similarity and difference occurring in terms of political, social, and cultural in each cultural locus

(country). Thus, the model of comparative literary studies with cross-cultural perspectives can be

applied. First, the researcher can look for similarities between one work of literature and another.

Secondly, he can see the differences between the two works. Third, he could analyze both works

with specific approaches, concepts, or theories, such as cross-cultural approaches.

Reference:

Anggradinata, L. P. (2020). Comparative literary study models with cross-cultural perspectives

(studi kasus penelitian sastra di Asia Tenggara). Salaka Journal: Journal of Indonesian

Language, Literature, and Culture, 2(2).

Sripsi: The vision of nationalism in Darwish poetry and the vision of sacral analysis

Nationalism is derived from the word nation which means nation. Linguistically, the term

nationalism comes from the Latin word natio and means nation united by birth.1 According to

Hans Kohn, nationalism is an understanding that argues that the highest loyalty of the individual

must be handed over to the national state. Such an understanding begins to emerge when a nation

has shared aspirations to build a nation. The term 'nationalism' according to Abbe Barruel was

first used in Germany in the 15th century. The word is intended for students who come from the

same region or speaks the same language, so that they still show their love for their native nation

or tribe even though they are in a new place.3 Nationalism was initially associated with the love

of a group of people for the nation, language, and region of origin. That kind of love nowadays is

called the spirit of patriotism. So at first nationalism and patriotism were the same thing.

Snyder4 argues that nationalism is a powerful emotion that has dominated the minds and

political actions of most people since the French Revolution. It is not natural, but rather a

historical symptom, which arises as a response to certain political, economic and social

conditions. As an ideology, nationalism can play three functions, that is, bind all classes of

citizens, unite the mentality of nationals, and build or strengthen the influence of the citizens of

the nation on the policies taken by the state. Nationalism is one of the tools of social cohesion to

maintain the existence of the state and the nation. However, since the French Revolution of 1789,

the notion of nationalism has undergone various meanings, because the conditions behind it vary

greatly between the one nation and the other nation. Nationalism is no longer a product of

European enlightenment but a label of struggle in the Asian-African countries colonized by the
West. Shafer5 says that nationalism is multi-significant. It depends on the objective and

subjective conditions of each nation. Because although the countries of Europe and Asia-Africa

have different civilizations, cultures, even races, the labels of nationalism in the two fortresses

are also different.

When you look at the countries of Asia and Africa, you must always remember the

existence of pan-Arabism or pan-Islamism that until now aimed to unify the nations of the

Middle East. Before the influence. The politics of the West, the countries of the Middle East

have been united by the bonds of religion and unity. However, the presence of modernization in

the Arab world is the cycle of the coming political revival of the Arabs. One of the concepts

derived from the impact of political modernisation in the Middle East is Arab nationalism. New

Arab nationalism really came to the surface when there was political pressure from outside

forcing Arab nationalists to do something. The Arab Union, or the so-called Pan Arabism, is an

embodiment of the ideals of Arab nationalism. Basically, Arab nationalism aims to unite Arab-

speaking countries that have the same tribal and cultural identity, not the unity of the Islamic

world. It shows that the Arab countries are one nation and one culture, no matter what religion is

in them.

What's going on in the Arab countries is different from what's happening in Indonesia.

Nationalism in Indonesia emerged when colonialism flourished in the form of greed, injustice,

indignation, discrimination, and denial of human rights. So, it has been proven that the

Indonesian nationalism that was later embodied in Pancasila was a powerful tool for expelling

the colonists or colonialism. In the Asian countries of modern times, nationalism is the most

important result of the influence of Western power. Of course nationalism in the countries of

Asia and in Indonesia in particular cannot be matched with in the West, because it is a historical
symptom that has developed in response to the political, economic, and social conditions in

particular caused by the colonial situation.

Indonesia's nationalism cannot be equated with Western nationalism because Indonesia' s

nationalism is a nationalism that is at odds with social justice. Anti-colonialism is what Bung

Karno calls socio-nationalism. Such nationalism is nationalism that seeks respect, respect,

tolerance of other nations or tribes. In the context of Indonesia, the experience of shared

suffering as a colonial nation gives birth to the spirit of solidarity as a community that must rise

and live as an independent nation. Such spirit by the freedom fighters is activated not only within

certain time limits, but continuously to the present and future.

Further, Indonesian nationalism gave birth to Pancasila as a state ideology. The long struggle for

independence has now come true.

The proclamation of independence on 17 August 1945 was the culmination of the struggle, and

at the same time a sign that Indonesia declared itself a sovereign, independent, and independent

state. To reinforce all this, the Basic Law of 1945 was passed on 18 August, which became a

symbol of the great revolutionary power that contained equality and fraternity, a sign of the

bright day after the overthrow of foreign power.

The love of the homeland is a form of nationalism. Although each generation has its own

challenges and answers to nationalism, the essence of nationalism remains the same, namely,

attachment to the country and homeland. The subject of nationalism is not only raised in

scientific writings, but can also be raised into the form of literary works. Literary work is a

product of creation and creation imagined by man and is a reflection of social and cultural life of

society. Literary works clearly reflect the norms and behavior of society in various social classes.
Authors usually reflect real life into literary works with the aim of conveying a message. Many

authors reveal social phenomena, about nationalism, what and how its perspectives into literary

works. Therefore, this paper divides the concept of nationalism from two works of Arab and

Indonesian literature simultaneously, namely the Arab poem "Bitāqah Hāwiyyah" by Mahmūd

Darwisy and the Indonesia poetry "Gugur" by W.S. Rendra. Both authors have different views

on expressing a sense of nationalism. It's because they both have a historical background.

Research Analysis: The view of nationalism between Darwisy and Rendra poems

The theme of struggle and nationalism are both raised into two different poems, namely

Arab and Indonesian poetry. However, the two poems have different concepts of struggle and

nationalism due to their different social and cultural backgrounds. In the Arabic poem "Bitāqah

Hāwiyyah" which in English means "Identity Card" and in Indonesian means "identity card",

nationalism is seen as a love for its home country. As for the Indonesian poem "The Fall", the

country is regarded as a soul whose honor must be guarded. Apart from the differences in the

two poems, there is one thing in common in terms of the nation's liberation struggle from the

invaders. From both of these poems can be seen how the indigenous people defend their country

from the invaders.

The poem "Bitāqah Hāwiyyah" is a Palestinian poem written by Mahmūd Darwisy

and published in 1964.

The poem tells the story of the Palestinian people's struggle against the Israeli

colonization of a Palestinian state. Israel took away all that was in the land of Palestine, its land,

its gardens, its work, and its houses. The struggle is one form of love for the homeland.
Darwisy's pride as a Palestinian Arab became a force to show that she was part of the great Arab

nation.

He did not state explicitly that he was a Palestinian because Palestine itself was part of

the Arab world. He was proud of his identity as an Arab by mentioning his ID card number. It

confirms that he is truly Arab and his name has been registered as a Palestinian Arab. From that,

it can be seen that Arab nationalism is built to unite the Arab states, one of which is Palestine.

For Darwisi, as a people whose country is under colonization, a struggle is needed to defend the

country and everything in it. It's because a country or a homeland is the home of millions of its

people, like a mother is a shelter for her child. Palestine is the home of Darwisi and his family.

The State of Palestine for its inhabitants is also a place to work and live for their families.

Then when the country was colonized and captured by Israel, how the Darwish and other

Palestinians would live and where they would live. It became crucial because all the lives of

Darwish and other Palestinians were shed there.

The state as a home is not the physical form of a home that is usually occupied by a

person, but the house that is meant is his country, his homeland. In his poems, he illustrated and

described many of the conditions of his homeland and his sense of indissolubility with the

homeland. That explains the unity of Darwish with her home, her homeland. He feels that his

home, his homeland has Evayatun Ni’mah Volume 2, Number 1, February 2017 98 strong bonds

with his inhabitants, that is, his people (Ahmad, tt: 398-399). Because for him, the State of

Palestine is a place where he was born, raised and lived.

Palestine has also given his family a shelter, a place to get a job to support his family, and

also a place where he feels comfortable.

 In the last chapter of his poem, he reaffirmed that he was truly a Palestinian Arab

identity and would do anything to defend his beloved homeland. He showed his struggle for the

suffering he suffered and for the oppression of the invaders. He warned strongly that if the

colonization that had resulted in his life of suffering continued, he would oppose it. His battle is

seen in the first line of every temple, saying, "Note!" He wants to show his courage to the

invaders. The repetition in each of these temples shows his strength and courage that he is truly

an Arab who does not have to leave Palestine because of the Israeli colonization. From the above

explanation, it can be concluded that the Mahmoud Darwisy poem entitled Biṭāqah Hawiyyah

has the theme of the Palestinian people's resistance against The Palestinians who have a

Palestinian Arab identity and have lived thousands of years on Palestinian soil must feel the

oppression of Israel, they must lose their homes and their lives because they have been seized by

Israel.

Like Darwisy's poem, the poem "Gugur" tells of a man's struggle,

As a representative of the people defending independence on Indonesian soil where he fought

against the invaders to bloodshed to fight for the land of Ambarawa, one of the cities in

Indonesia. It is worth fighting because Ambarawa is one of the fertile heritage of our ancestors

and must be fought and preserved for generations to come. The struggle of the Indonesian people

against the invaders is the same as the Palestinian people against Israel in the Darwisi poem.

Indonesia is a country rich in natural resources. And because of that, the invaders took

everything in Indonesia.

However, the Indonesians did not remain silent in the face of invaders' attacks.
They also resisted to drive out the invaders from their beloved land.

What the Indonesians are doing is a defense of the country. It is as the impact of the high love of

the homeland. And the love of the homeland is a consequence of the feeling of nationalism

towards the beloved country. The people of Indonesia have one goal: the independence of the

Indonesian nation. The experience of suffering that has long been lived in the lives of the

Indonesian people gives rise to a spirit of solidarity and loyalty to the country. The meaning of

nationalism in Rendra's Indonesian poem "Gugur" differs from Darwisy's Arabic poem, "Bitāqah

Hāwiyyah". The nationalist view of love of the homeland has the perspective that the country is

the soul and honor that must always be guarded for the people of Indonesia. The soul is the entire

inner life of man. The state of Indonesia belongs to the people of Indonesia and has united with

them. Therefore, the Indonesians will do anything.

Reference: Ni'mah, E. (2017). PANDANGAN NASIONALISME DALAM PUISI MAḤMŪD DARWISY DAN
RENDRA DALAM ANALISIS SASTRA BANDING: Nationalism View to Maḥmūd Darwisy and

Rendra poetries in Comparative Literature analysis. An-Nas, 1(2), 91-91.