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Emerging in the late nineteenth and twentieth centuries as a secular activity, Persian literature acquired its own modernity by redefining past aesthetic practices of identity and history. By analyzing selected work of major pre- and post-revolutionary literary figures, Talattof shows how Persian literary history has not been an integrated continuum but a series of distinct episodic movements shaped by shifting ideologies. Drawing on western concepts, modern Persian literature has responded to changing social and political conditions through complex strategies of metaphorical and allegorical representations that both construct and denounce cultural continuities. The book provides a unique contribution in that it draws on texts that demonstrate close affinity to such diverse ideologies as modernism, Marxism, feminism, and Islam. Each ideological standard has influenced the form, characterization, and figurative language of literary texts as well as setting the criteria for literary criticism and determining which issues are to be the focus of literary journals.
Approximately one million innocent Indonesians were killed by their fellow nationals, neighbours and kin at the height of an anti-communist campaign in the mid-1960s. This book investigates the profound political consequences of these mass killings in Indonesia upon public life, highlighting the historical specificities of the violence and comparable incidents of identity politics in more recent times. Mixing theory with empirically based analysis, the book examines how the spectre of communism and the trauma experienced in the latter half of the 1960s remain critical in understanding the dynamics of terror, coercion and consent today. Heryanto challenges the general belief that the periodic anti-communist witch-hunts of recent Indonesian history are largely a political tool used by a powerful military elite and authoritarian government. Despite the profound importance of the 1965-6 events it remains one of most difficult and sensitive topics for public discussion in Indonesia today. State Terrorism and Political Identity in Indonesia is one of the first books to fully discuss the mass killings, shedding new light on a largely unspoken and unknown part of Indonesia’s history.
RAYU... rayulah lagi! Semakin mangsanya menangis dan merayu agar dia berhenti menyeksa mereka, semakin dia seronok. Rayuan mereka seolah-olah nyanyian merdu di telinganya. Dia ketagih melihat darah. Lagi banyak darah, lagi dia seronok. Melihat mangsanya menggelepar kesakitan adalah satu kepuasan yang tidak dapat diungkap dengan kata-kata. Dia adalah seorang algojo yang ditugaskan untuk menghukum pesalah. Mangsanya bukan sebarang mangsa. Dia memilih perempuan seperti Sherry kerana Sherry adalah sasaran yang mudah dan paling penting, Sherry adalah seorang pendosa. Setiap pendosa harus dihukum. Di dalam kurungan, Sherry didera dan dibiarkan kebuluran. Bagaimanakah nasib Sherry? Apakah dia harus mati di tangan algojo itu? Kemudian, muncul pula Doktor Humaira, seorang doktor pakar psikiatri. Apakah seorang pakar psikiatri sepertinya dapat lari daripada digasak memori silam yang menakutkan? Siapa pula lelaki bernama Luth, Hidayat serta Hakeem? Awas, algojo itu masih bebas dan sedang mencari mangsa seterusnya!
From the ninth to the nineteenth centuries, Persian was the pre-eminent language of learning far beyond Iran, stretching from the Balkans to China. In this book, Alexander Jabbari explores what became of this vast Persian literary heritage in the nineteenth and twentieth centuries in Iran and South Asia, as nationalism took hold and the Persianate world fractured into nation-states. He shows how Iranians and South Asians drew from their shared past to produce a 'Persianate modernity', and create a modern genre, literary history. Drawing from both Persian and Urdu sources, Jabbari reveals the important role that South Asian Muslims played in developing Iranian intellectual and literary trends. Highlighting cultural exchange in the region, and the agency of Asian modernizers, Jabbari charts a new way forward for area studies and opens exciting possibilities for thinking about language and literature.
Indonesian horror films are currently in full swing. Not a week goes by without a new horror film releasing in theaters. The Indonesian horror genre has a long history since ages decades. Horror films today are formed by the ups and downs, development, and exploration of the genre from time to time. The development of themes, stories, and aesthetic aspects are increasingly varied, and filmmakers are always trying to find loopholes to find new approaches that the market likes. What exactly is the definition of an Indonesian horror film? What is behind the success of horror films in Indonesia? Do our horror films have a quality that is considered as good,and even unique in the storytelling and...
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