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 perspective. It covers the interval from 1920 to 2000. this can be an incredibly 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 current reports of Bali and its heritage, anthropology, conventional literature, and the appearing arts. A Literary Mirror is a useful source for these discovering twentieth-century Balinese authors who wrote in Indonesian. previously, such writers have acquired little or no recognition within the latest literature. An appendix offers brief biographical information of many major writers and lists their paintings. complete textual content (Open entry)
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Extra info for A literary mirror : Balinese reflections on modernity and identity in the twentieth century
On the various forms of literary awards and their role in the development of Indonesian literature since 1998, see I. Campbell 2002. Introduction 19 provide early examples of identity politics in Indonesian literature. While the first poem deals with the idea of nation in the restricted context of Sumatra, the later one expresses the idea of an Indonesian nation, reflecting an important shift in identity construction from regional to national identity. The novels Sitti Nurbaya and Salah asuhan both defend the importance of Minangkabau tradition in Sumatra and display a strongly anti-colonial sentiment (Salam 2003:17).
Within two years of the HUDVO performance, Surya Kanta published an anonymous play entitled Kesetiaan perempuan (A woman’s fidelity) in serial form between March and June 1927. The HUDVO performance might have inspired the melodramatic character of Kesetiaan perempuan, but unlike the non-contextual nature of HUDVO’s performance, alleged in a review in Surya Kanta, the play Kesetiaan perempuan consciously dealt with issues relevant to its time. This play is the most important work of this period, from both an aesthetic and a thematic point of view.
The triwangsa only constitute about 10% of the population, but they enjoy special privileges relating to ritual practices, language, etiquette and inter-caste marriage. With the support of the triwangsa, the Dutch made caste distinctions more rigid and gave them additional privileges. The triwangsa, who were predominantly former rulers, were given legally protected privileges in education and employment and were freed from corvée labour duties (Schulte Nordholt 1994:96) in addition to the traditional privileges that they already held.