Alfi Nur Khoirunnisa, Riki Fernando, Ari Wibowo

Refleksi Jejak Kolonialisme Jepang dalam Cerpen Bulik Rum Karya Suparto Brata: Kritik Sastra Postkolonial

Introduction

Refleksi jejak kolonialisme jepang dalam cerpen bulik rum karya suparto brata: kritik sastra postkolonial. Telusuri jejak kolonialisme Jepang di Indonesia melalui cerpen Bulik Rum karya Suparto Brata. Analisis kritik sastra postkolonial mengungkap mimikri, hibriditas, dan dominasi penjajah.

Abstract

The colonization of Indonesian people is one of the events that is imprinted in people's memories. One of the nations that colonized Indonesia was Japan, which began in 1942 until 1945. The Japanese occupation was filled with interactions between colonizers as self and natives as other in the form of domination. The track record of the Japanese occupation became one of the themes raised by the author Suparto Brata in his short story entitled Bulik Rum. This research aims to reveal the traces of colonialism that occurred during the Japanese occupation using a postcolonial literary criticism approach through the perspective of Homi K. Bhabha. The method used in this research is descriptive qualitative. By assuming literary works as a reflection of reality, the socio-cultural conditions contained in the story are explained using the concepts of mimicry, hybridity, and ambivalence as formulated by Bhabha as conditions of postcoloniality. After analyzing the data obtained in the short story, the results obtained are as follows. First, the problems of mimicry, hybridity, and domination that exist between the colonizers and the colonized are seen in the fields of education, economy, and socio-culture that result in the suffering of the indigenous people. Second, as a postcolonial literary work, this short story still focuses on the hierarchical relationship between the colonizers and the colonized that places the colonizers as dominant.

Review

This paper, titled "Refleksi Jejak Kolonialisme Jepang dalam Cerpen Bulik Rum Karya Suparto Brata: Kritik Sastra Postkolonial," presents a pertinent and timely investigation into the lingering effects of Japanese colonialism in Indonesia. The abstract clearly outlines the study's objective: to critically examine Suparto Brata's short story, 'Bulik Rum,' as a literary reflection of the 1942-1945 occupation. By focusing on a specific, yet often less explored, colonial period in Indonesian history, the research promises valuable insights into the profound and enduring impact of Japanese rule on the indigenous population as depicted in literature. The chosen approach of postcolonial literary criticism, particularly through the lens of Homi K. Bhabha, is highly appropriate for dissecting the complex power dynamics inherent in such historical narratives. The methodological framework, employing a descriptive qualitative approach and utilizing literary works as reflections of reality, is well-suited for a nuanced textual analysis. The abstract further strengthens its scholarly grounding by explicitly stating the application of Homi K. Bhabha's theoretical concepts – mimicry, hybridity, and ambivalence – which are crucial for understanding the intricate interactions between colonizers and the colonized. The preliminary findings, detailing the manifestation of these concepts in the fields of education, economy, and socio-culture, and their resulting impact on the indigenous people, demonstrate a thorough engagement with the primary text through the chosen theoretical lens. Furthermore, the identification of the short story's continued focus on hierarchical relationships, with the colonizers maintaining dominance, offers an interesting point of discussion regarding postcolonial representations. Overall, this research makes a significant contribution to both Indonesian literary studies and broader postcolonial discourse, particularly concerning the Japanese occupation period. While the abstract effectively outlines the presence of mimicry, hybridity, and domination, future elaborations could potentially delve deeper into the *ambivalence* inherent in Bhabha's framework, perhaps exploring how these conditions might also manifest as subtle forms of resistance or negotiation, beyond simply leading to suffering. Nevertheless, the paper's clear focus and robust theoretical application establish a strong foundation for understanding the literary legacy of Japanese colonialism. It offers valuable insights into how creative works encapsulate and interpret the painful memories and complex power structures of colonial encounters, thereby enriching our comprehension of historical trauma through a critical literary perspective.

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