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<![CDATA[LOCATING DIGITAL LITERATURE IN WORLD LITERATURE: A CASE OF QUARTERLY LITERARY REVIEW SINGAPORE ]]>
<![CDATA[Indriyanto, Kristiawan]]>
<![CDATA[ International Journal of Humanity Studies (IJHS) Vol 2, No 1 (2018): September 2018 ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
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DOI: 10.24071/ijhs.v2i1.1506
<![CDATA[Participants in an interaction risk their sense of face in every action (Goffman, 1967). Requests, by definition, are face-threatening acts (Brown and Levinson, 1978). In making a request, a speaker not only threatens the hearer’s negative face as he impinges on the hearer’s claim to freedom of action; he also threatens his positive face as he exposes himself to the possibility of being denied or rejected. In order to minimize this possibility, the speaker has to present himself in such a way that the hearer would have a positive impression of him. This paper examined letters of request written by students of a university in Metro Manila for noticeable forms of self-presentation. Following Goffman’s thesis (1956) that self-presentation is a tangible component of identity, this paper analyzed lexico-syntactic patterns, and impression management strategies utilized by the writers to express their communicative intention (make a request), and construct an identity deemed necessary in attaining the hearer’s approval.DOI: https://doi.org/10.24071/ijhs.2018.020103]]>
<![CDATA[HAWAII’S ECOLOGICAL IMPERIALISM: POSTCOLONIAL ECOCRITICISM READING ON KIANA DAVENPORT’S SHARK DIALOGUES ]]>
<![CDATA[Indriyanto, Kristiawan]]>
<![CDATA[ International Journal of Humanity Studies (IJHS) Vol 2, No 2 (2019): March 2019 ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
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DOI: 10.24071/ijhs.v2i2.1724
<![CDATA[Recent studies of postcolonialism have explored the interconnection between postcolonial and environmental/eco-criticism. Studies from Huggan (2004), Nixon (2005), Cilano and DeLoughrey (2007) counter the underlying assumption that these criticisms stand in opposition toward each other by pointing out the overlapping areas of interest between postcolonial and ecocriticism and the complementary aspect of these two criticisms (Buell, 2011). Postcolonial ecocriticism, as theorized by Huggan and Tiffin (2010) and DeLoughrey and Handley (2011) asserts the intertwined correlation between environmental degradation and the marginalization of the minority/indigenous ethic groups which inhabit a particular place. The underlying capitalist and mechanistic ideologies in which nature is perceived only of their intrinsic values and usefulness toward (Western) humans illustrates total disregard to the original owner of the colonized land, the indigenous people. This perspective is underlined by Serpil Oppermann’s (2007) concept of ecological imperialism to underline the anthropocentric perspective that legitimate Western domination toward the colonies’ natural resources. Although discussion of postcolonial ecocriticism has encompassed diverse regions such as Caribbean, Africa and Asia, scant attention has been given toward Pacific archipelago especially Hawai’i. Through reading on Kiana Davenport’s Shark Dialogues (1994), this paper explores how American colonialism results in ecological imperialism in this island chain. It is hoped that this analysis can contribute toward enriching the discussion on postcolonial ecocriticism.DOI: 10.24071/ijhs.2019.020202]]>
<![CDATA[BEYOND THE PASTORAL: ENVIRONMENTAL IMAGINATION IN O.A BUSHNELL’S KA’A’AWA ]]>
<![CDATA[Indriyanto, Kristiawan]]>
<![CDATA[ International Journal of Humanity Studies (IJHS) Vol 4, No 1 (2020): September 2020 ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
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DOI: 10.24071/ijhs.v4i1.2255
<![CDATA[This paper explores the environmental imagination in O.A Bushnell’s Ka’a’awa through his representation of pastoralism. A Hawaiian novelist, Bushnell conceptualizes his idea of pastoral based on the Hawai’ians’ traumatic experience with the Western colonial powers. Different with the Anglo-American discourse of pastoralism which emphasizes more on the individual self and the reorientation toward the natural world in rural area, Bushnell foregrounds the far-reaching impact of colonialism which affects even the periphery of O’ahu island. The titular village of Ka’a’awa, previously a sacred place where the inhabitants with the blessing of Hawai’ian gods lived bountiful with nature also suffers the outbreak of Western diseases. Instead of a place for reorientation and rejuvenation, Bushnell’s concept of pastoralism in Ka’a’awa evoke the traumatic experience of the islanders in which the picturesque landscape of Hawai’i represents the silent witness towards the desolation of Hawai’ian archipelago. To reiterate, this paper argues how Bushnell orients his work within the socio-historical background of Hawai’i and deliver a critique towards the impact of colonialism towards the islanders through his conception of pastoral.]]>
<![CDATA[HAWAIIS ECOLOGICAL IMPERIALISM: POSTCOLONIAL ECOCRITICISM READING ON KIANA DAVENPORTS SHARK DIALOGUES ]]>
<![CDATA[Kristiawan Indriyanto]]>
<![CDATA[ International Journal of Humanity Studies (IJHS) Vol 2, No 2 (2019): March 2019 ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
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DOI: 10.24071/ijhs.v2i2.1724
<![CDATA[Recent studies of postcolonialism have explored the interconnection between postcolonial and environmental/eco-criticism. Studies from Huggan (2004), Nixon (2005), Cilano and DeLoughrey (2007) counter the underlying assumption that these criticisms stand in opposition toward each other by pointing out the overlapping areas of interest between postcolonial and ecocriticism and the complementary aspect of these two criticisms (Buell, 2011). Postcolonial ecocriticism, as theorized by Huggan and Tiffin (2010) and DeLoughrey and Handley (2011) asserts the intertwined correlation between environmental degradation and the marginalization of the minority/indigenous ethic groups which inhabit a particular place. The underlying capitalist and mechanistic ideologies in which nature is perceived only of their intrinsic values and usefulness toward (Western) humans illustrates total disregard to the original owner of the colonized land, the indigenous people. This perspective is underlined by Serpil Oppermanns (2007) concept of ecological imperialism to underline the anthropocentric perspective that legitimate Western domination toward the colonies natural resources. Although discussion of postcolonial ecocriticism has encompassed diverse regions such as Caribbean, Africa and Asia, scant attention has been given toward Pacific archipelago especially Hawaii. Through reading on Kiana Davenports Shark Dialogues (1994), this paper explores how American colonialism results in ecological imperialism in this island chain. It is hoped that this analysis can contribute toward enriching the discussion on postcolonial ecocriticism.]]>
<![CDATA[AN ECOLINGUISTICS ANALYSIS OF THE WIND GOURD OF LA’AMAOMAO ]]>
<![CDATA[Kristiawan Indriyanto]]>
<![CDATA[ International Journal of Humanity Studies (IJHS) Vol 5, No 1 (2021): September 2021 ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
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DOI: 10.24071/ijhs.v5i1.3717
<![CDATA[This study foregrounds the Native Hawai’ians’ interconnection between culture and nature through ecolinguistic analysis of the Wind Gourd of La’amaomao. The language use in this Hawai’ian folktale emphasizes the reverence Hawai’ian people have toward their environment based on familial kinship. The analysis mainly focuses on two aspects of language use, based on Stibbe’s theory of ecolinguistic, ideology/discourse and evaluation/appraisal. The study also posits the ecosophy/ecological philosophy derived from the text in line with the current state of environmental crisis. The study argues that the discourse employed in the text is positive, based on recognizing the need of sustainability. The positive discourse is also reflected through close emotional connection between people and place which is reflected in wind naming pattern and Hawai’ian place names. Secondly, nature is also appraised positively as seen in the celebratory tone and vocabulary used. The study concludes that alternative way of perceiving the environment, as seen from the reading of the Wind Gourd of La’amaomao should be considered as a critique toward Western anthropocentrism. ]]>
<![CDATA[BEYOND THE PASTORAL: ENVIRONMENTAL IMAGINATION IN O.A BUSHNELLS KAAAWA ]]>
<![CDATA[Kristiawan Indriyanto]]>
<![CDATA[ International Journal of Humanity Studies (IJHS) Vol 4, No 1 (2020): September 2020 ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
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DOI: 10.24071/ijhs.v4i1.2255
<![CDATA[This paper explores the environmental imagination in O.A Bushnells Kaaawa through his representation of pastoralism. A Hawaiian novelist, Bushnell conceptualizes his idea of pastoral based on the Hawaiians traumatic experience with the Western colonial powers. Different with the Anglo-American discourse of pastoralism which emphasizes more on the individual self and the reorientation toward the natural world in rural area, Bushnell foregrounds the far-reaching impact of colonialism which affects even the periphery of Oahu island. The titular village of Kaaawa, previously a sacred place where the inhabitants with the blessing of Hawaiian gods lived bountiful with nature also suffers the outbreak of Western diseases. Instead of a place for reorientation and rejuvenation, Bushnells concept of pastoralism in Kaaawa evoke the traumatic experience of the islanders in which the picturesque landscape of Hawaii represents the silent witness towards the desolation of Hawaiian archipelago. To reiterate, this paper argues how Bushnell orients his work within the socio-historical background of Hawaii and deliver a critique towards the impact of colonialism towards the islanders through his conception of pastoral.]]>
<![CDATA[LOCATING DIGITAL LITERATURE IN WORLD LITERATURE: A CASE OF QUARTERLY LITERARY REVIEW SINGAPORE ]]>
<![CDATA[Kristiawan Indriyanto]]>
<![CDATA[ International Journal of Humanity Studies (IJHS) Vol 2, No 1 (2018): September 2018 ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
Show Abstract
|
Download Original
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Original Source
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Check in Google Scholar
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DOI: 10.24071/ijhs.v2i1.1506
<![CDATA[Participants in an interaction risk their sense of face in every action (Goffman, 1967). Requests, by definition, are face-threatening acts (Brown and Levinson, 1978). In making a request, a speaker not only threatens the hearers negative face as he impinges on the hearers claim to freedom of action; he also threatens his positive face as he exposes himself to the possibility of being denied or rejected. In order to minimize this possibility, the speaker has to present himself in such a way that the hearer would have a positive impression of him. This paper examined letters of request written by students of a university in Metro Manila for noticeable forms of self-presentation. Following Goffmans thesis (1956) that self-presentation is a tangible component of identity, this paper analyzed lexico-syntactic patterns, and impression management strategies utilized by the writers to express their communicative intention (make a request), and construct an identity deemed necessary in attaining the hearers approval.]]>
<![CDATA[DECONSTRUCTING PARADISE: WE NARRATION AS COLLECTIVE INDIGENOUS VOICE IN “THIS IS PARADISE” ]]>
<![CDATA[Kristiawan Indriyanto]]>
<![CDATA[ International Journal of Humanity Studies (IJHS) Vol 6, No 1 (2022): September 2022 ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
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DOI: 10.24071/ijhs.v6i1.5155
<![CDATA[This paper contextualizes how a short story “This is Paradise” by Kristiana Kahakauwila deconstructs the idealized trope of Hawai’i as paradise by presenting a localized narration from the perspective of the indigene working within the tourist industry. The use of first-person plural narration as the focalizer echoes the collective voice of the Hawai’ian indigene in their marginalized status within the tourist industry. An econarratological perspective as stated by Erin James provides reader with textual cues necessary to construct a mental model of Hawai’i from the insiders’ perspective. Kahakauwila’s use of insiders’ perspective enables reader to have an understanding of indigenous marginalization in Hawai’i, informed by a local experience of place. This perspective challenges the common depiction of Hawai’i as seen from the outsider/tourist point of view. The present study concludes how “This is Paradise” underlines a localized portrayal of the Hawai’i as the counter narrative toward the established trope of Hawai’i as paradise through its use of first-person plural and spatialization of Waikiki.]]>
<![CDATA[CHARTING THE STAGES OF ENVIRONMENTAL HISTORY : ECOLOGICAL READING OF JAMES MICHENER’S HAWAI’I ]]>
<![CDATA[Kristiawan Indriyanto]]>;
<![CDATA[Ruly Indra Darmawan]]>;
<![CDATA[Tan Michael Chandra]]>
<![CDATA[ International Journal of Humanity Studies (IJHS) Vol 6, No 2 (2023): March 2023 ]]>
Publisher : <![CDATA[Sanata Dharma University ]]>
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DOI: 10.24071/ijhs.v6i2.5774
<![CDATA[This study analyzes James Michener’s Hawai’i to underline how the environment was changed, altered and transformed over time based on differing paradigms of conceptualizing nature and environment. It primarily focuses on how the Native Hawai’ians, American settlers and Chinese immigrants have contrasting ways of perceiving the more-than-human world. The stages of environmental history, as underlined by Worster and Cronon argue how the differing paradigm is intertwined within the cultural contexts and socio-historical circumstances of a particular ethnicity in Hawai’i. Their paradigm manifested through social reproduction resulting from the mode of production, either instrumentalising or respecting the land. Moreover, race, social status and gender also problematize how the environment is conceptualized. From the perspective of environmental history, the environment is positioned as dynamic and changing, contrary to a prior depiction of nature as passive and static. The finding suggests that environmental perspectives in the novel Hawai’i can provide an avenue to reinterpreting human and non-human relationships by considering humanity as part of the natural world.]]>
