To ask other readers questions about Cantik Itu Luka, please sign up. . Saya membaca buku ini berdekatan dengan membaca karya Pramoedya Ananta Toer, . Original title: Cantik Itu Luka Author: Eka Kurniawan. The epic novel Beauty Is a Wound combines history, satire, family tragedy, legend, humor, and romance in. Novel. O (Tentang Seekor Monyet yang Ingin Menikah dengan Kaisar Dangdut) ( Novel, ) Penerbit: Gramedia Cantik Itu Luka (Novel, ) Penerbit.
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Graffity in The Toilet- Eka Kurniawan (translated by Ben Anderson).pdf the time and the energy to translate Maxim Gorki's Strike. he set to work on his first novel. Ribeka Ota's translation of Cantik itu Luka into Japanese came out. and the. Kurniawan's Cantik Itu Luka was translated into Japanese and Malaysian). . diam-diam Memek mencuri buku pekerjaan rumah Melly dan membuangnya di. Eka Kurniawan (born in November 28, ) is an Indonesian writer and graphic designer. Kurniawan has insisted that Beauty is a Wound is neither a historical novel nor a book about Beauty Is a Wound [Original title: Cantik itu Luka] Translated by Annie Tucker. . Create a book · Download as PDF · Printable version.
Ketiga putrinya diberkahi paras yang sangat cantik. Mereka tak lain adalah alamanda.
Alamanda menikah dengan Shodanco, ia tidak mencintai lelaki itu, lelaki yang telah memperkosanya. Hingga memiliki seorang putri cantik bernama Nurul Aini. Ketiga adalah Maya Dewi yang dinikahkan oleh ibunya sendiri saat masih berumur dua belas tahun dengan lelaki yang bernama Maman Gendeng, mereka hidup dengan ditemani oleh seorang putra mereka yang bernama Krisan.
Lelaki tua itu adalah Mantan pacar Ma Iyang neneknya, yang telah direbut paksa oleh kakek Dewi Ayu untuk dijadikan gundik. Kecantikan putri Alamanda dan Maya Dewi membuat banyak lelaki menginginkannya. Tak terkecuali Krisan sepupu mereka sendiri, yang menginginkan tubuh Rengganis, tetapi mencintai Nurul Aini.
Karena tidak tahan akan godaan, iya akhirnya menghamili Rengganis. Rengganis yang hanya menyebutkan kata anjing ketika ditanya oleh orang-orang perihal siapa yang menghamilinya, akhirnya dipaksa menikah dengan orang yang tidak ia sukai membuatnya lari kehuutan sehari sebelum ia melahirkan. Membuat Nurul Aini sakit dan akhirnya meninggal karena mencemaskannya.
Hal itulah yang membuat Krisan akhirnya membunuh Rengganis yang diam-diam datang kekamarnya setelah bebrapa hari menghilang dan melemparkan mayatnya kelaut.
Setelah membunuh Rengganis iya akhirnya kembali, kemudian turun dari perahunya. Ia bertemu dengan seorang nelayan yang bertanya perihal apa yangn ia lakukan dengan perahu tanpa seekor ikanpun. Membuat sang nelayan tertawa dan menganggap bahwa Krisan telah patah hati karena kekasih yang cantik sehingga menyarankannya mencari wanita yang jelek.
Ia akhirnya menemukan wanita buruk rupa namanya Cantik tak lain adalah bibinya sendiri putri keempat dari neneknya Dewi Ayu. I was expected to edit the translation, but essentially, as the editor, I would have to agree with whatever the translator eventually decided to do. Even now, the blurbs on the back cover of This Earth of Mankind include this statement: After Pramoedya released his first Buru Quartet book in , foreign publishers not only English-language ones clamoured for his permission to translate his work.
Resensi Novel “Cantik Itu Luka”
Many of them ended up bypassing his publisher Hasta Mitra, who was treated more like an agent, and paid his royalties directly to him. In the end, to get their books translated and published in English these two authors had to rely on two local independent publishers with scarcely any money behind them, and two western academics-cum-translators. Translation Problems, or Writing Problems? This, di Giovanni said, is a writing problem, not a translation problem. The original translation manuscript I received from Michael Garcia had, despite his best intentions, a curious mix of writing and translation problems.
He said this would be jarring, even alienating, if replicated in English. He then claimed to have invented a method to replicate the staccato rhythm without the repetition of words, which involved using and manipulating English punctuations such as em-dashes, colons and commas. Djenar does make good use of repetition of words, but mostly not to create a staccato effect, but to shock the reader with the meaning of the words.
Memek mulai cemburu kepada teman-temannya yang mempunyai nama berawalan me. Memek iri dan merasa mereka jauh lebih beruntung. Maka, diam-diam Memek mencuri buku pekerjaan rumah Melly dan membuangnya di tempat sampah. Akibatnya Melly dihukum berdiri di depan kelas.
Memek began to envy friends whose first names began with the letters me. How much more fortunate they were, she thought jealously. As a result Melly was punished by having to stand in front of the class. Repetition is Meaning Djenar uses repetition of words and phrases elsewhere in her stories, and always with a desire to shock the readers as her motive. In its structure, the story recalls Rashomon by Ryunosuke Akutagawa, or the Four Gospels, but Djenar used it less for its allusive effect than for its intended shocking effect of showing off to the readers how conventional most narrative techniques in Indonesian stories are and, by proxy, how modern she is.
Or, according to Katrin Bandel, as an experiment in narrative style which added nothing to the story. It was also written in the old Dutch-era Van Ophuysen spelling. The new spelling and its attendant new idioms and vocabularies, mainly derived from bureaucratspeak, can according to Anderson give the impression that anything not written according to the new grammatical rules was primitive, leftist, useless, unreadable or downright despicable.
Mereka Bilang, Saya Monyet! In its current incarnation, the written EYD Indonesian is very different to spoken Indonesian, especially to Indonesian spoken in the capital, Jakarta, where Djenar lives. Reading contemporary Indonesian stories, especially those set in Jakarta, like the stories in Mereka Bilang, Saya Monyet!
The readers would read the words on the page and at the same time imagine how those same words would have been said in spoken Indonesian. Sometimes, the spoken Indonesian would break through the written Indonesian as if surfacing for air. So someone, obviously a Jakarta person, had whistled a catcall to a woman who was smoking.
The translator was also insisting that the phrase be kept in its original language, followed with a parenthetical clause explaining its meaning in English.
Realizing that the original Indonesian text is likely to have already been a form of translation from less formal, spoken, Indonesian might have also suggested to the translator alternative strategies of translation.
Her name is Cunt! One who is mabuk kepayang drunk with kepayang is madly in love, or slighty intoxicated.
No Indonesian would stop to think twice about the phrase. No one would even remember that kepayang is actually a tree. Such a seemingly beneficent but ultimately misleading stance on translating a text can only create more problems for the translator. But in his haste to find an equivalent word that would be less alienating to English-language readers, he ended up with Spanish.
My editorial voices in this translation were very faint. Djenar was hardly ever consulted while the translation was being prepared. After a few discussions with her after the translation was handed in, it also became clear to us that it would have taken too long to rewrite some parts of the translation to better express her original voice, so we decided to leave the translation as it was.
It was going to be launched there with much fanfare, and with the hope that some commercial English-language publishers might notice it and pick it up. Vintage Books, , p.
Jalasutra, , pp. Penguin Books, , back cover. Borges on Writing New York: Dutton and Co.
Michael Nieto Garcia Jakarta: Metafor, , p. Garcia, p. Gramedia Pustaka Utama, , p. Gramedia Pustaka Utama , p. Sejarah Terjemahan di Indonesia dan Malaysia, ed.
Henri Chambert-Loir Jakarta: Kepustakaan Populer Gramedia, , pp. Borges on Writing, p. Sejarah Terjemahan di Indonesia dan Malaysia. Henri Chambert-Loir. AYU, Djenar Maesa. Jangan Main-Main dengan Kelaminmu. Gramedia Pustaka Utama, Michael Nieto Garcia.Sejak kecil, Dewi ayu tinggal bersama neneknya yang orang Belanda.
I started out really digging it--a magic realist family fable about a Dewi Ayu, a Dutch-Indo woman who comes back to life twenty-one years after she died and after she gave birth to her fourth daughter, a monstrously ugly girl she named Beauty. Stories and Studies of Strange Things ; in magic realism reminiscent of Gabriel Garcia Marquez's epic tale of Latin America, One Hundred Years of Solitude or Salman Rushdie's mesmerizing novel of India, Midnight's Children ; and in the taut rendering of wartime atrocities, it is more explicitly a depiction of abuse and violence against women as similarly narrated in Mo Yan's hallucinatory novel of China's history, Big Breasts and Wide Hips.
Jelas saya kemudian salut kepada penulis karena bisa meramu plot yang bertindihan dan kompleks dalam buku setebal kurang dari halaman. Borges on Writing New York: There is no denying that Dewi Ayu, her four daughters, and the men in their lives are the brilliant and vibrant center that holds the story together.
Sikapnya yang tenang membuatnya cepat akrab dengan Mama Kalong. If you have read books by African or Asian authors, you will be prepared.
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