Cultural fluidity as the core for identity formation in Pramoedya`s Footsteps.

viii

Abstract

Maxianus Nitsae 2015. CULTURAL FLUIDITY AS THE CORE FOR

IDENTITY FORMATION IN PRAMOEDYA’S

FOOTSTEPS Yogyakarta:

The Graduate Program of English Language Studies, Sanata Dharma University

This study explores the issue of Indonesian identity construction in

Pramoedya’s

Footsteeps. This novel primarily deals with the issue of Indonesian

identity construction represented by Minke, the protagonist character of the novel

by examining the history of the early awakening of Indonesian nationalism under

Dutch colonialism.

Minke’s identity

is constructed within Javanese and Western

culture. This study uses Bhabha’s concept of Mimicry and Hybridity in making an

in-

depth analysis of the process of Minke’s identity construction.

This study shows that Minke appears as a modern man. However, the sense

of Minke’s modernity is hybrid. It is the mix of Javanese and Western culture.

Minke who has internalised the spirit of modernity believes that it can change

people. It releases people from cultural bounda

ries, advances human’s life,

enforces people to be independent therefore he attempt to impose this spirit

national culture.

This study also points out that Minke employs modernity a form of

resistance. His effort aims to deconstruct feudal tradition that he considers as a

culture that degrade human dignity and colonialism in Indies and it also

deconstruct colonial discourse which depends on cultural fixity.

ix

ABSTRAK

Maxianus Nitsae. 2015. Keterbukakaan Budaya Sebagai Dasar

Pembentukan identitas dalam Jejak Langkah oleh Pramoedya

. Yogyakarta: Kajian Bahasa Inggris, Program Pasca Sarjana. Universitas

Sanata Dharma.

Penelitian ini bertujuan untuk mengeksplorasi isu pembentukan identitas

Indonesia dalam novel yang berjudul Jejak Langkah. Novel ini berkisah tentang

pembentukan identitas Indonesia yang direpresentasikan oleh Minke, tokoh utama

dalam novel Jejak Langkah yang mengkaji sejarah awal kebangkitan nasional

Indonesia pada masa penjajahan Belanda. Identitas Minke di bentuk diantara

budaya Jawa dan budaya Barat. Penelitian ini menggunakan konsep Hibriditas dan

Mimicry dari Bhabha untuk menghasilkan sebuah analisa yang mendalam tentang

proses pembentukan identitas dari Minke.

Penelitian ini menunjukan bahwa Minke nampak sebagai seorang modern.

Namun modernitas Minke adalah modernitas yang hybrid. Ia adalah pencampuran

dari budaya Jawa dan Barat. Minke yang telah mengiinternalisasikan semangat

modernnitas dalam dirinya percaya bahwa nilai-nilai yang terkandung dalam

modernitas dapat mengubah orang. Ia membebaskan orang dari kungkungan

budaya, meningkatkan taraf hidup manusia, mendorong orang untuk menjadi

independen. Oleh karena itu ia berusaha untuk menginjeksi spirit modernitas pada

budaya bangsanya.

Penelitian ini juga menunjukan bahwa Minke menggunakan modernitas

sebagai sebuah bentuk perlawanan. Tujuannya dari usahanya adalah untuk

mendekonstruksi tradisi feodal yang menghina derajat manusia dan kolonialisme

di Hindia serta mendekonstruksi wacana kolonial yang tergantung pada

pandangannya tentang budaya yang statis.

i

CULTURAL FLUIDITY AS THE CORE FOR IDENTITY FORMATION

IN PREMOEDYA’S

FOOTSTEPS

A THESIS

Presented as a Partial Fulfilment of the Requirements to Obtain the Magister

Humaniora (M.Hum) Degree in English Language Studies

by

Maxianus Nitsae

Student Number: 126332041

THE GRADUATE PROGRAM IN ENGLISH LANGUAGE STUDIES

SANATA DHARMA UNIVERSITY

iv

STATEMENT OF ORIGINALITY

This is to certify that all ideas, phrases, sentences, unless otherwise stated, are the

ideas, phrases, and sentences of the thesis writer. The writer understands the full

consequences including degree cancellation if she took somebody else’s ideas,

phrases, or sentences without proper references.

Yogyakarta, July 28, 2015

v

LEMBAR PERNYATAAN PERSETUJUAN

PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS

Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma :

Nama : Maxianus Nitsae Nomor Mahasiswa : 126332041

Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul :

CULTURAL FLUIDITY AS THE CORE FOR IDENTITY FORMATION IN

PRAMOEDYA’S

FOOTSTEPS

beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, me-ngalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data, mendistribusikan secara terbatas, dan mempublikasikannya di Internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin dari saya maupun memberikan royalti kepada saya selama tetap mencantumkan nama saya sebagai penulis.

Demikian pernyataan ini yang saya buat dengan sebenarnya. Dibuat di Yogyakarta

Pada tanggal : 28 Juli 2015

Yang menyatakan

vi

ACKNOWLEDGEMENTS

It is impossible to finish this thesis without help from other people. It is a

result of my never ending discussion with many magnificent people, including

those whose name I do not know. I know that I cannot return their kindness except

through my deepest gratitude and prayers for them.

I want to express my appreciation to the lecturers of English Study Program

who have enlighten me so many ways. All knowledge that I have obtained helped

in the process of writing. Their guidance also aroused my sense of awareness of

many things in life.

I am very grateful to have Dr. Novita Dewi, M.S., M.A (Hons) and Paulus

Sarwoto, M.A., Ph.D as my reviewers and examiners and Dr. F.X Siswadi, M.A

as one of my examiners. I thank them for spending time to read and give

suggestion for my thesis improvement.

My great gratitude goes to my supervisor Rm. Mutiara Andalas SJ.,

S.TD.

who patiently assisted me in the process of exploring and writing my thesis. I

owe him for his valuable time and energy that he spent in advising.

Finally, I want to express my gratitude to my parents, my sisters and brother

vii

TABLE OF CONTENTS

TITLE PAGE ……….

APPROVAL PAGE ………...

DEFENSE APPROVAL PAGE ………

STATEMENT OF

ORIGINALITY………

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA

ILMIAH UNTUK KEPENTINGAN AKADEMIS ………...

ACKNOWLEDGEMENTS ….………..

TABLE OF CONTENTS ………...

ABSTRACT ………...

ABSTRAK ……….

I

ii

iii

iv

v

vi

vii

viii

ix

CHAPTER I INTRODUCTION ………

A.

Background of the study....

………...

B.

Urgency of the Study

………...

.

C.

Scope of Study….………...

..

D.

Research Method

…....……….

..

E.

Chapter Outline ….………...

..

1

1

9

10

10

11

CHAPTER II LITERATURE REVIEW………

A.

Review of Related Studies

………

B.

Review of Theoretical Concept

1. Hybridity...

2. Mimicry...

C.

Theoretical Framework………....……….

.

13

13

17

19

21

28

CHAPTER III R

EADING HYBRIDITY IN PRAMOEDYS’S

FOOTSTEPS...

………...

A.

Place of Enunciation...

B.

Reaffirmation of Javanese Tradition...

………

...

29

29

36

CHAPTER IV NEGOTIATING IDENTITY CONSTRUCTION...

A.

Re-evaluating and Reorienting Tradition...

……….

B.

Decentering Modernism ...

………..

51

51

72

CHAPTE

R V CONCLUSIONS ………..………..

A.

Concluding R

emarks ……….

B.

Ideas for Further Research

………...

..

87

87

92

viii

Abstract

Maxianus Nitsae 2015. CULTURAL FLUIDITY AS THE CORE FOR

IDENTITY FORMATION IN PRAMOEDYA’S

FOOTSTEPS Yogyakarta:

The Graduate Program of English Language Studies, Sanata Dharma University

This study explores the issue of Indonesian identity construction in

Pramoedya’s

Footsteeps. This novel primarily deals with the issue of Indonesian

identity construction represented by Minke, the protagonist character of the novel

by examining the history of the early awakening of Indonesian nationalism under

Dutch colonialism.

Minke’s identity

is constructed within Javanese and Western

culture. This study uses Bhabha’s concept of Mimicry and Hybridity in making an

in-

depth analysis of the process of Minke’s identity construction.

This study shows that Minke appears as a modern man. However, the sense

of Minke’s modernity is hybrid. It is the mix of Javanese and Western culture.

Minke who has internalised the spirit of modernity believes that it can change

people. It releases people from cultural bounda

ries, advances human’s life,

enforces people to be independent therefore he attempt to impose this spirit

national culture.

This study also points out that Minke employs modernity a form of

resistance. His effort aims to deconstruct feudal tradition that he considers as a

culture that degrade human dignity and colonialism in Indies and it also

deconstruct colonial discourse which depends on cultural fixity.

ix

ABSTRAK

Maxianus Nitsae. 2015. Keterbukakaan Budaya Sebagai Dasar

Pembentukan identitas dalam Jejak Langkah oleh Pramoedya

. Yogyakarta: Kajian Bahasa Inggris, Program Pasca Sarjana. Universitas

Sanata Dharma.

Penelitian ini bertujuan untuk mengeksplorasi isu pembentukan identitas

Indonesia dalam novel yang berjudul Jejak Langkah. Novel ini berkisah tentang

pembentukan identitas Indonesia yang direpresentasikan oleh Minke, tokoh utama

dalam novel Jejak Langkah yang mengkaji sejarah awal kebangkitan nasional

Indonesia pada masa penjajahan Belanda. Identitas Minke di bentuk diantara

budaya Jawa dan budaya Barat. Penelitian ini menggunakan konsep Hibriditas dan

Mimicry dari Bhabha untuk menghasilkan sebuah analisa yang mendalam tentang

proses pembentukan identitas dari Minke.

Penelitian ini menunjukan bahwa Minke nampak sebagai seorang modern.

Namun modernitas Minke adalah modernitas yang hybrid. Ia adalah pencampuran

dari budaya Jawa dan Barat. Minke yang telah mengiinternalisasikan semangat

modernnitas dalam dirinya percaya bahwa nilai-nilai yang terkandung dalam

modernitas dapat mengubah orang. Ia membebaskan orang dari kungkungan

budaya, meningkatkan taraf hidup manusia, mendorong orang untuk menjadi

independen. Oleh karena itu ia berusaha untuk menginjeksi spirit modernitas pada

budaya bangsanya.

Penelitian ini juga menunjukan bahwa Minke menggunakan modernitas

sebagai sebuah bentuk perlawanan. Tujuannya dari usahanya adalah untuk

mendekonstruksi tradisi feodal yang menghina derajat manusia dan kolonialisme

di Hindia serta mendekonstruksi wacana kolonial yang tergantung pada

pandangannya tentang budaya yang statis.

1 I R E T P A H C

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. d e z i n o l o c e h t f o x e l p m o c

e h t li t n u y rt n u o c a s a e c n e t s i x e o t n i e m o c t o n d i d a i s e n o d n

I middleoft he

s y h p e h T . y r u t n e c h t e it n e w

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w into asinglecolony.‘TheDutch , e

s i n g o c e r s l a i c if f o l a i n o l o c , h s it ir B e h t e m it t r o h s a r o f d n

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y rt n u o c e h t f

o Then t‘hey attempted to cenrtailse conrto l ove r the widely l a c it il o p e s r e v i d f o s r e d a e l l a c o l g n i s i n g o c e r y b s e l p o e p n a i s e n o d n I d e s r e p s i d

8

s r e k c i

V , Adiran ,A sHitoryo fmodernI ndonesia ,(CambirdgeUniverstiyPress.NewYork:.2005) , .

3 . p

9_{Pennycook .Alastair ,Engilshandt hediscourseo fColoniailsm,(Roultedge ,London ,2002)} 0

u D e h t t a h w r e d n u m o t s u c g n i y fi d o c d n a , s n o it i d a

rt tch termed adatrect (ada t .)

w a l ’11

n e e t e n i n s i h

T t -h centuryexercisehadt heeffec toff reezingi ntow irttenl aw l a i c o s f o n o it a m ri f f a e r d n a w e i v e r , n o i s i v e r g n i u n it n o c a n e e b y l s u o i v e r p d a h t a h w

c i n h t e h c a e n i e l p o e p d n a s r e d l e f o s u s n e s n o c e h t h g u o r h t s e u l a v d n a s m r o n

e h t r e v e w o H . p u o r

g adat law w irtten into the text s o f Dutch colonia l l

a r u tl u c e h t r e v o l o rt n o c e l b a r e d i s n o c m e h t d e w o ll a s r o t a rt s i n i m d

a cenrtesoft he

e t a m it l u t u b , d e e t n a r a u g s a w y ti s r e v i d e h T . a i s e n o d n I r e v o l l a s p u o r g c i n h t e y n a m

t n e c s a w s y a w s ’ e l p o e p r e v o y ti r o h t u

a railsed in the colonia lregime.12Thu sthe l a r u tl u c e h t d e n e p r a h s d o ir e p l a i n o l o c g n ir u d h s it ir B e h t d n a h c t u D f o e c n e s e r p

.t i g n i s il a m r o f y b e l p o e p n a i s e n o d n I f o y ti s r e v i d

s e s e r p x e r e o T a t n a n A a y d e o m a r P , k e h c ti V e r d n A y b d e w e i v r e t n i g n i e B

: s w o ll o f s a a i s e n o d n I f o w e i v s i h

“ .[.].Wha t we know a s Indonesian cutlure i s jus t something we can e r e h T ? e r u tl u c n a i s e n o d n I s i t a h W . s e r u tl u c l a i c n i v o r p r o l a c o l s a e b ir c s e d

, e r u tl u c n a i s e n o d n I s a d e r e d i s n o c e b n a c t a h T . e u rt , e r u t a r e ti l e m o s s i

t a h W . e g a u g n a l n a i s e n o d n I e h t s e s u t i e s u a c e

b i selset here?Thereareonly e m o s s a h e c n i v o r p y r e v E . g n i c n a d e s e n il a B e k il , s m r o f l a r u tl u c l a c o l e m o s

e r u tl u c r i e h t y fi r o l g y lt n a t s n o c s n a i s e n o d n I ] .. .[ . h e c A y ll a i c e p s e , e r o l k l o f

’ ? y fi r o l g o t e r e h t s ’t a h w ‘ , g n i k s a p e e k I t u

b 13

a y d e o m a r P , w e i v r e t n i s i h n

I indicate stha tIndonesian identtiy concerning ti s .

d e v e i h c a e b t s u m t a h t g n i h t e m o s s i n e h t y ti t n e d I .t s e u q n i s i e r u tl u

c Therefore ,a s

n

a Indonesian naitonailst and noveilst ,Pramoedyaconstanlty i nvtie sIndonesian

1 1

n i e r u tl u c d n a y t e i c o S l a c o L , k c i r t a P . s s e n n i u

G Indonesia’sNewOrder ,TheDynamicso fSocio n

o it a m r o f s n a r T c i m o n o c

E ,( Allen&UnwinPtyLtd ;Austraila’ ,1994) ,p .268 2

1_{Ibid .P .268}

3

h g u o r h t a i s e n o d n I t u o b a k n i h t o t e l p o e

p hi sltierary works .Fo rhim Indonesian .

n r o b t e y n e e b t o n s a h e r u tl u c

e s o r p s ’ a i s e n o d n I t n e n i m o r p t s o m e h t s a d e z i n g o c e r n e e b s a h , a y d e o m a r P

h w r e ti r

w o conitnuously voices t he issue so fIndonesian i denttiy .I tcan be seen r

o w s i h f o s e m e h t r o j a m e h t m o r

f k stha tmoslty revolve around Indonesian s

a h c u s a i s e n o d n I f o y r o t s i h e h t d n a m s il a n o it a

n Kranj iBekas iJatuh ,Perburuan ,

s e d e D k o r

A ,Aru sBailk ,Korupsi ,Gadi sPantai ,and others .The porrtaya lo f o

m a r P y b d e b ir c s e d y lt n e r e h o c s i t s e u q y ti t n e d i n a i s e n o d n

I edya AnantaToer i n

s i

h Buru Quartet speciifcally the thrid volume o f thi s Buru Quartet se ires ,

s p e t s t o o

F .

:t e tr a u Q u r u

B Bum i Manusia (Thi s Earth o f Mankind) , Anak Semua a

s g n a

B (Ch lid o fAl lNaiton) ,JejakLangkah f(ootsteps )andRumahKaca(House s

a l G f

o s). The manuscirpt sof t hese novel sare completed by Pramoedyadu irng y ll a n i g ir o d a h s l e v o n e s e h t f o l l A . d n a l s I u r u B n i t n e m n o s ir p m i s i h f o r a e y t s a l e h t

y lr a e e h t n i s r e n o s ir p w o ll e f s i h o t d e t a l e r s e ir o t s , e r u t a r e ti l l a r o s a d e s o p m o c

s ir p m i s i h f o s r a e

y onmen twhenhewa sunablet owrtie.14

s a h t e tr a u Q u r u

B been estab ilshed a sthe fris tIndonesian ltierary work s d

e n i m a x

e the histo irca leven to fIndonesia paritculalry the ea lry awakening o f .

m s il a n o it a n n a i s e n o d n

I Buru Quatret seire sprecisely maps- to ‘ hu t e srtuggle o f r i e h t e li c n o c e r o t d e g n o l e b i n it r a K A . R h c i h w o t a i s e n o d n I f o n o it a r e n e g e h t

d n a ” l a d u e f “ s a d e v i e c r e p y e h t s e r o m l a r u tl u c s u o n e g i d n i e s o h t f o n o it c e j e r

g n i w o r g r i e h t h ti w , y ti n g i d n a m u h o t g n it a il i m u

h awarenessthatt heveryWestern

4

1_{KetihFoulcher ,Ketih.“Insearchoft hePostcoloniali nI ndonesianLtierature”Journali nsocia l}

A t s a E h t u o S n i s e u s s

e r u tl u

c whichhads o“ilberated”t hei rconsciousnes swa sholdingt hepeopleoft he d

n a n o it a ti o l p x e f o p ir g g n i u n it n o c a n i s e i d n I s d n a lr e h t e

N oppression.’15

t li w G o G e li h

W proposed that ,“the histo irca lemergence o fIndonesian o

l a rt e T u r u B a y d e o m a r P n i m s il a n o it a

n gy i ssrtuctured around t hedeviceoft wo l a c ir o t s i h e h t n o d e s a b ( e k n i M f o t a h t : e v it c e p s r e p e v it a r r a n d e s o p p o , t c n it s i d

it n a f o g n i n e k a w a y lr a e e h t s t n u o c e r o h w , ) o y r u S i d A o tr i T , t s il a n o it a n o t o r

p

-a h t d n a ; s e m u l o v e e r h t t s ri f e h t n i m s il a n o it a n l a i n o l o

c to fhi sadversary,t hes ecre t n

a n a m e g n a P , t n e g a e c il o

p (D .A .Rinke sd riecto ro fBala iPustakaandt hecolonia l l

a c it il o

p of ifcial who montiored Titro Ad iSuryo) who take sove rthe fou trh m

s i h f o n o it a c s if n o c e h t e li x e d n a t s e r r a s ’ e k n i M e t a r r a n o t e m u l o

v anuscirpts ,

.s n o it a z i n a g r o l a c it il o p s i h f o n o i s r e v b u s e h t d n

a ”16 _{Ye,t t he detali so fhisto irca l}

. l e v o n e h t n i n o it a c if it c e j b u s f o s s e c o r p e h t e c u d e r t o n o d s l e v o n e h t n i s t n e v e

:t a h t d e t a t s s a h t li w G o G y b d e t o u q s a a y d e o m a r P

h t f o n o it i b m a l a c ir o t s i h e h t

“ e work he undetrake s on Buru , g

n i z i s a h p m

e tha the i sa wrtier ,no ta histo iran-“ti i snot t he mateiral so f y

r o t s i

h tha t Iexamine ,bu t ti ssp riti” j(ad ibukan mateir-mater ihisto ir s t

a g n a m e s i p a t e t , ij a k u k g n a

y -semangatnya’)-he explains : “ I began t

a r e b il e

d ely wtih the theme o fIndonesia’ sNaitona lAwakening-which , ,

y ll a n o it a n d n a y ll a n o i g e r d e ti m il e li h

w nonetheless remain spar to fthe s

ti f o s t o o r e h t o t g n it ir w m a I p e t s y b p e t S . y ti n a m u h f o d n a d lr o

w history ,

m a x e I d e h s il b u p e b r e v e n ] k r o w f o y d o b a n

i[ ine ,bu ttiss piir.t”17

o t s l e v o n e h t s e s o p m o c y ll a n o it n e t n i a y d e o m a r P t a h t e r e h n e e s e b d l u o c t I

n a i s e n o d n I y lr a e e h t f o t ir i p s e h t t u b y r o t s i h e h t y l n o t o n s r e d a e r e h t t n o r f n o c

5 1

m e S k a n A d n a a i s u n a M i m u B “ . h ti e K , r e h c l u o

F uaBangsa ,PramoedyaAnantaToerEntersthe

, ” s 0 8 9

1 Journa lbySoutheas tAsiaProgramPubilcaitonsa tCornel lUniverstiy. 2 6

1

, r e p o t s i r h C , tl i w G o

G Thepassageo fLtierature ,Genealogieso fModernismi nConrad ,Rhys ,& a

y d e o m a r

P ,( OxfordUniverstiyPress ,2011,) p.154 7

1_{GoGwitl ,Christoper ,Thepassageo fLtierature ,Genealogieso fModernismi nConrad ,Rhys ,&}

a y d e o m a r

t a h t e g n a h c f o t ir i p s e h t r o y ti t n e d i n a i s e n o d n I g n it c u rt s n o c n i t s il a n o it a

n happen

e h t d n a y r u t n e c n e e t e n i n f o d n e e h t d n u o r

a beginning oft weniteth century unde r .

n o it a p u c c o h c t u D e h

t I timpile st hat Indonesian identtiy i sin proces ,s t herefore f

o t ir i p s e h t l e u f o t s d n e t n i a y d e o m a r

P hi sreader sto involve in the proces so f n

o d n

I esian Identtiy consrtuciton .O rA sRazi fBahar ipoint sout ,Pramoedya’ s y r o t s i h e h t t e g o t d e ti s i v e r t o n s i e fi l s ’ o tr i T y b d e r e v o c y r o t s i h e h t n i t s e r e t n i

s p ir g o t e m o c t s u m t n e s e r p e h t n i s n a i s e n o d n I t a h t s i s e h t e h t r e t s l o b o t t u b , t h g ir

it r a p r i e h t h ti

w cipaitoni nI ndonesianbecoming. n

o s e s u c o f r e v e w o h y d u t s s i h

T Footstepsand t het hreeothe rnovelsf rom

; t e t r a u Q u r u

B Bum iManusia (Thi sEarth o fMankind) ,Anak Semua Bangsa

(Chlid o f Al l Naiton) , and Rumah Kaca (House o f Glass)are used a s the g

n it r o p p u

s resource .sFootstepsdeal swtihMinke,t heprotagonis tcharacte roft he l

e v o

n whor eailzest hatt hesuffeirngo fhisf ellownaitvei scausedbyt henaitve‘ s .

h c t u D e h t y b d e n e p r a h s s i ti d n a s r e d a e l ri e h t d n a n o it i d a rt

o ll e f s i h e t a r e b il o t d e ll a c s i e k n i

M w Naitve from cu tlura ldeteniton and h c t u D m o r f s e v it a N e h t e t a r e b il o t y a w l a c it il o p s e s u e k n i M . n o it a n i m r e t e d h c t u D

e h t t a h t s e v e il e b e k n i M . e l p o e p e h t g n i p o l e v e d e r o f e b n o it a g u j b u

s development fo

n a c t i d n a s e v l e s m e h t e v it a N y b d e n i m r e t e d s i e v it a N e h

t be done only i fthe

m o r f e e r f e r a s e v it a

N Dutch determinaiton .From hi scontac twtih othe rpeople s

i e k n i M r o t c o d a v a J d l O n a d n a r a a H r e T , n a S g n A s a h c u

s enforced to apply

n o it a s i n a g r

o to un fiy t hepeopleundert heconsideraiton t ha t tii sl egali n f ront fo .

t a h t t c a f e h t o t e u d t l u c if fi d e r a e l p o e p e h t y fi n u o t s t p m e tt a e h t r e v e w o H

s y a w e h t d n a p u o r g s s a l c d n a c i n h t e t n e r e f fi d y n a m y b d e i p u c c o s i y t e i c o s s e i d n I

p m e s i e c n e r e f fi d s i h

t hasized by the colonia lstate .Thi sstate demand sa hard . s e v it a N l l a y fi n u n a c t a h t n o it a z i n a g r o n a h s il b a t s e y ll u f s s e c c u s o t r e d r o n i k r o w

y b d e s s e f n o c s i tI . s e c n e r e f fi d e h t d n u o b l li w t a h t s n a e m a s t s e u q e r ti , n o it i d d a n I

h ti w n o it a s r e v n o c s i h n i e k n i

M hi smothe r“It oldhe ro fmyi dea saboutt hemulit t a h t t c e lf e r t a h t n o it a z i n a g r o n a d li u b o t d e t n a w I t a h t ,s e i d n I e h t f o e r u t a n l a i c a r

. e l p o e p e h t g n i y fi n u r o f s n a e m e h t d n u o f t e y t o n d a h I t a h t t u b , y ti l a e

r ”18 _How

r p s i h t e m o c r e v o o t e l g g u rt s e k n i M s e o

d oblem?

o t d e m i a s i y d u t s s i h

T discove rthe procces so ifdenttiy consrtuciton in s

’ a y d e o m a r

P Footstep sby using Bhabha’ sconcep to fMimicry and Hyb irdtiy in

. e s r u o c s i d l a i n o l o c t s o

p Hence ,to dig ou tthe aspect stha timpo tran tin identtiy w

o h d n a n o it c u rt s n o

c ani denttiyi sconsrtucted ,thi sstudyf ormulatest her esearch :

s w o ll o f s a s n o it s e u

q

.

a Whati deali denttiydoe sMinkeperseveret oachieve? .

b Howdoe sMinkes rtugglet oconsrtuc thisi deali denttiy? y

d u t S e h t f o y c n e g r U . B

e r n e tf o n o it a n a f o h tr i b e h

T presentst heproduc to fsrtugglebyauniifed d n a y h p a r g o e g s ’ a i s e n o d n I f o y ti x e l p m o c e h T . e l p m a x e n a s i a i s e n o d n I . e l p o e p

. e l p o e p e h t y fi n u o t t l u c if fi d t i e k a m y t e ir a v l a r u tl u c d n a c i n h t e s u o d n e m e rt s ti

o r e m u n , y r o t s i h n a i s e n o d n I f o s e ir u t n e c e h t h g u o r h

T us i ndividua lstand sou to f . m s il a i n o l o c f o n o it a n i m o d e h t m o r f s e v l e s m e h t e s a e l e r o t y rt e l p o e p r i e h t

8

f o t ir i p s e h t f o e s u a c e b e c n e d n e p e d n i s i h s e v e i h c a y ll a u t n e v e a i s e n o d n I

. m s il a n o it a n

d e t c e p x e o s l a s i k r o w t n e s e r p s i h

T to give cont irbuiton toward a bette r f o t p e c n o c s ’ a h b a h B i m o H d n a n o it a n f o t p e c n o c s ’ a y d e o m a r P n o g n i d n a t s r e d n u

n o it a m r o f n i e m o s s d n if o s l a y d u t s s i h T . s r e d a e r e h t r o f y ti d ir b y H d n a y r c i m i M

l u f e s u e b n a c t a h t e g a t n a v d a n a s i tI . y t e i c o s n i a i d e m n o it a c il p p a e h t g n i d r a g e r

s r e d a e r e h t r o

f .

y d u t S e h t f o e p o c S . C

d e lt it n e l e v o n s ’ a y d e o m a r P n o s e s u c o f y d u t s e h

T Footsteps . tIi st hethrid s

’ a y d e o m a r P f o e m u l o

v BuruQuartet .Theanalysisi sf ocusedont hedynamic so f i d d n a n o it c a r e t n i h g u o r h t r e t c a r a h c t s i n o g a t o r p e h t f o n o it a m r o f y ti t n e d

i alogue

, e g a u g n a l , c i n h t e , e r u tl u c f o d n u o r g k c a b t n e r e f fi d e v a h t a h t e l p o e p r e h t o h ti w

. a r e m s il a i n o l o c n i n o i g il e r , n o i s s e f o r p

s p e t s t o o

F ,the selected nove lin thi sstudy depict sIndonesian identtiy t

I . n o it c u rt s n o

c relfects the concep to fMimicry and Hyb irdtiy .Therefore ,thi s n a i s e n o d n I f o y ti d ir b y H d n a y r c i m i M f o e c n e u lf n i e h t l a e v e r d l u o h s y d u t s

. n o it c u rt s n o c y ti t n e d i

d o h t e M h c r a e s e R . D

s ’r e o T a t n a n A a y d e o m a r

P Footsteps is t he p irmary datafor t hi sresearch a

y d e o m a r P f o s l e v o n r e h t o e e r h t e h t d n

a ’ s Buru Quartet a sthe supporitng ;

s e c r u o

s Thi sEarth o fMankind ,Chlid o fAl lNaiton”and “Houseo fGlass” .The l a i c o s e h t t u o e r u g if o t d e m i a s i y d u t s s i h t n i h c a o r p p a l a i n o l o c t s o p f o n o it a c il p p a

k a w a e h t d n a a i s e n o d n I n i d o ir e p l a i n o l o c g n ir u d n o it a u ti

w o h g n i d n a t s r e d n u n i l u f p l e h o s l a s i t I . e c n e d n e p e d n i n a i s e n o d n I o t s d a e l t a h t

m o r f e l p o e p r e h t o h ti w n o it c a r e t n i h g u o r h t f l e s m i h e n if e d o t s e l g g u rt s e k n i M

. m s il a i n o l o c g n ir u d d n u o r g k c a b l a r u tl u c t n e r e f fi d

e h t f o s e r u d e c o r p e h

T study areasf ollows:f risltycollecitngdataf romt he n

o it s e u q h c r a e s e r e h t o t g n ir r e f e r y b m e h t g n i y fi s s a l c n e h t d n a l e v o

n s ,secondly

m e h t g n i n i a l p x e d r a w r e tf a d n a t x e t e h t m o r f s n o it a ti c g n it a c i d n i y b a t a d g n i s y l a n a

h t g n i y fi t n e d i y lt s a l d n a s li a t e d n

i ei ssue sbasedont her esearchquesitons . e

n il t u O r e t p a h C . E

o t y ll a c it a m e h t d e d i v i d s i k r o w s i h

T easet hediscussion .Chapter eo n ist he e

h t e r e h w n o it c u d o rt n

i background o f the study , research quesitons , and r

o h t d e s s u c s i d e r a y d u t s e h t f o e c n a c if i n g i

s oughly .Since the study wli luse .

e r e h e n il t u o o s l a s i y d u t s s i h t n i d e s u y g o l o d o h t e m h c r a e s e r y r a r b il

Chapte rtwo ist hel tieraturereview .I tdiscusse ssome related studie stha t w e i v r e v o e h t s n i a t n o c o s l a t I . k r o w y r a r e ti l r a li m i s n o d e t c u d n o c n e e b e v a

h fo

e h t , y r c i m i M d n a y ti d ir b y

H theo ires employed in the study ,and the theoreitca l .

y d u t s e h t f o k r o w e m a r f

e e r h t r e t p a h

C andchapterf ou rdiscusstheanswerst ot her esearchquesitons . e e r h t r e t p a h c , s u h T . n o i s s u c s i d r e t p a h c e n o h tr o w e b d l u o w r e w s n a h c a E

s e s s u c s i

d thein lfuenceo fHyb irdtiyandMimicryinMinke’si denttiyconsrtuciton n

r e t s e w d n a e s e n a v a J s i h n i h ti

w cutlures .Chapte rfou rdiscussest hesrtuggleo f e

b o t y ti n r e d o m f o t ir i p s e h t t c e j n i o t e k n i

M hi snaitonali denttiy. a

h c l a n if e h

T pte rconclude s the work by presen itng the ifndings and y

d u t s e h t f o s n o it a c il p m

n

i thi sstudyasr eference so rwork swhichareno tctied ,bu thavebeenhelpfuli n g

n it ir w f o s s e c o r p e h

3 1

I I R E T P A H C

W E I V E R E R U T A R E T I L

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o t d e d n e t n i s i n o it c e s s i h T . ti n o h c r a e s e r o d o t e l p o e p y n a m d e l a e p p a s a h t e tr a u Q

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p or treview o fsome previou sstudie stha thave been conducted .The n e e w t e b s e c n e r e f fi d d n a s e it ir a li m i s e h t w o n k o t s i w e i v e r s i h t g n i o d f o e s o p r u p

e h t d n a s r e h c r a e s e r s u o i v e r p e h t y b d e t c u d n o c n e e b e v a h t a h t s k r o w d e h s i n if e h t

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d e n g i s e d e r a s l e v o n e h t f o s r e t c a r a h c e h t , e s o p r u p r a li m i s r o F . t n e m n o s ir p m i

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G The Voice o fPramoedya Ananta Toer” t

e tr a u Q u r u B t a h t s e t a t

s i sreconsrtucted from memory from the research and , s r e p a p , s t p ir c s u n a m s ’ a y d e o m a r P n e h w t s o l y l e ri t n e t s o m l a t a h t n o it a t n e m u c o d

e k a m t a h t s e t o n e h T . t s e r r a s i h g n i w o ll o f d e r e tt a c s r o d e y o rt s e d e r e w s k o o b d n a

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f o n o it a l u c ri c l a n o it a n r e t n i e h t d n a ; a i s e n o d n I r e d r O w e N f o e r e h p s c il b u p

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R Pramoedya Postcolonially stated tha t e

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t u b , s e it e i c o s l a i n o l o c n i e c n e ir e p x e l a c ir o t s i h s ’t c e j b u s l a i n o l o c e h t h ti w s n r e c n o c

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d n a y h c r a ir t a p n i y ti r o h t u a d n a r e w o p f o s e v ir d e h t f o g n i d n a t s r e d n u n a

h t w o h d n a , m s il a i n o l o

c eycreatef alselyprejudiceds ocialf ormaiton .s23

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a y d e o m a r P e c n i s l e v o n e h t n i d e t c i p e d a i s e n o d n I f o y r o t s i h e h t d n a e u s s i l a i c o s n o

a t n a n

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a r P t a h

t i sahisto irca lnoveils.t .

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e h t t u o g i d o t d e s u k r o w e m a r f l a c it e r o e h t n i a m e h t s i y r o e h t l a i n o l o c t s o P

l a c it e r o e h t r e h t o e k il , m s il a i n o l o c t s o P r o f , n e s o h c s i t I . y d u t s e h t f o s m e l b o r p

s ’ n a m u h f o s n i a m o d e h t l l a g n o m a s n o it c e n n o c e e s o t s p l e h s k r o w e m a r f

, l a u t c e ll e t n i , l a c it il o p , l a i c o s , l a c i g o l o e d i , l a c i g o l o h c y s p e h t s a h c u s s e c n e ir e p x e

a s i , r e v e w o h , y r o e h t l a i n o l o c t s o P . k r o w y r a r e ti l a n i d e d d e b m e c it e h t s e a d n a

k r o w e m a r f l a c it e r o e h

t tha tdeal swtihhumanoppression .

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d e z i n o l o c e h t m o r f s r e ti r w e h t y b n e v e n e tt ir w t a h t s k r o w e h t ,s e ir t n u o c d e z i n o l o c

3

t s o p ‘ t a h t s e t a t s t f o r c h s A . s r e z i n o l o c e h t r o s e ir t n u o

c -colonia ltheoryi sdeveloped l a i n o l o c n i s e l p o e p d e z i n o l o C y b n e tt ir w s e r u t a r e ti l g n i h s ir u o lf e h t o t e s n o p s e r n i

s e g a u g n a

l .24

n o it a l u p o p y n a s a e l p o e p d e z i n o l o c s e n if e d m s i c it ir c l a i n o l o c t s o p e s u a c e B

p r e h t o n a f o n o it a n i m o d l a c it il o p e h t o t d e t a g u j b u s n e e b s a h t a h

t opulaiton ,

n a c ir f A f o s k r o w y r a r e ti l e h t y d u t s o t d e s u e b o s l a n a c n e h t c it ir c l a i n o l o c t s o p

y lr e m r o f e h t r o s n a il a rt s u A l a n i g ir o b a f o e r u t a r e ti l e h t s a l l e w s a n a c ir e m A

m s i c it ir c l a i n o l o c t s o p , k r o w e m a r f l a c it e r o e h t a s a , r e v e w o H . a i d n I f o n o it a l u p o p

s k e e

s tounderstandt heoperaitono fcoloniails tandanit-coloniailsti deologist .Fo r t a h t s e c r o f l a c i g o l o e d i e h t s e s y l a n a m s i c it ir c l a i n o l o c t s o p f o l a e d d o o g a , e l p m a x e

d n a h r e h t o e h t n o , d n a s e u l a v ’ s r e z i n o l o c e h t e z il a n r e t n i o t d e z i n o l o c e h t d e s s e r p

d e t o m o r

p ther esistanceo fcolonizedpeopleagainstt hei roppressor ,s ar esistance

. fl e s ti m s il a i n o l o c s a d l o s a s i t a h t

y l e d i w t a h t s e r u g if r o j a m e e r h t e r a e r e h t , y r o e h t l a i n o l o c t s o p f o d l e if e h t n I

S d r a w d E e r a y e h t , y d u t s s i h t f o e r u g if l a rt n e c e h t s a n w o n

k aid ,Gayart iSpivak

. a h b a h B K i m o H d n

a Hom iKBhabhat hel eadingvoiceo fpostcolonia lstudiesi s s e u q c a J , a d ir r e D s e u q c a J s a h c u s s t s il a r u t c u rt s t s o P n r e t s e W y b d e c n e u lf n i y l h g i h

l a i n o l o c t s o p o t n o it u b ir t n o c r o j a m a e d a m e H . tl u a c u o F l e a h c i M d n a n a c a L

d u t

s ie sby poinitng ou thow t here i salway sambivalence at t he side o fcolonia l b

u s s i h T . e c n a n i m o

d -chapte ri saimed to elaborate the idea o fBhabha abou t y

r c i m i

M and Hyb irdtiy tha t are used to analyse the problem o f identtiy in s

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P Foot sStep .s

4

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s e i c e p s t n e r e f fi d o w t n e e w t e b s s o r c a e b o t t h g u o h t y l n o m m o c s i y ti d ir b y H

y ti d ir b y h t x e t l a r u tl u c d n a y r a r e ti l t n e r r u c e h t n i r e v e w o H . )l a m i n a r o l a c i n a t o b (

if l a r u tl u c e h t o t e c n a t s i s e r w o h s o t d e s u n e e b s a

h xtiy o fcolonia ldiscourse . &

i tt r o u

K Nymanint heri inrtoduciton t o Reconsrtucitng Hybridtiyreveal smany t a h t s e n if e d o h w n it h k a B l i a h k i M f o k r o w e h t o t e t a l e r m r e t e h t f o s n o i s s u c s i d

t i d n a , s t c e p s a l a r u tl u c d n a c it s i u g n il h t o b g n i v l o v n i s s e c o r p a s i y ti d ir b y h ‘

i u g n il t n e r e f fi d n e h w s e g r e m

e sitc code smee twtih each other’.25_{Fo rexample ,}

i d r a b a M s e n i b a

S who i squoted by Kuo trtt iand Nyman ,‘statest ha t“Bakhitn’ s e

l b u o d f o n o it a u ti s a s e t a c i d n i y ti d ir b y h f o e s

u -voicedness ,where there i sa f

n i f o , s r e c a rt h ti w e g a u g n a l l a ir o h t u a e h t f o e r u t x i

m luences , o f the othe r ’.

d e z i g o l a i d s a h t i h c i h w h ti w e c i o v / e g a u g n a

l 26

t s o m e h t s e v i g t a h t a h b a h B s i e r e h t , s e i d u t S l a i n o l o c t s o P f o d l e if e h t n I

e n i m a x e o t d e y o l p m e s i y ti d ir b y h , a h b a h B f o d n a h e h t n I . y ti d ir b y h o t n o it n e tt a

e t n o c s a l l e w s a y r o t s i h l a i n o l o

c mporary cu tlures .Fo rBhabha ‘contemporary e c n e r e f fi d l a r u tl u c t a h t y l p m i t o n s e o d n o it i s o p s i h t r e v e w o H . d ir b y h e r a s e r u tl u c

e v it c e p s o rt e r s a n e e s e b d l u o h s e r u tl u c , d a e t s n I . e c n e r e f fi d n i o t n i s r u l b y l p m i s

s e c n e u q e s n o c e r a y e h t t a h t g n i n a e m , s n o it c u rt s n o

c o fhisto irca lprocess’.27_Bhabha

r o c it s i n o g a t n a r e h t e h w , t n e m e g a g n e l a r u tl u c f o s m r e t e h t t a h t s e u g r a f l e s m i h

. y l e v it a m r o f r e p d e c u d o r p e v it a il if f

a 28

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, i p o Y . n a m y N d n a l e o J . y t r o u