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By I Nyoman Darma Putra

A Literary mirror is the 1st English-language paintings to comprehensively examine Indonesian-language literature from Bali from a literary and cultural perspective. It covers the interval from 1920 to 2000. this is often a really wealthy box for study into the methods Balinese view their tradition and the way they reply to exterior cultural forces. This paintings enhances the massive variety of latest reviews of Bali and its heritage, anthropology, conventional literature, and the appearing arts. A Literary Mirror is a useful source for these discovering twentieth-century Balinese authors who wrote in Indonesian. in the past, such writers have got little or no recognition within the latest literature. An appendix provides brief biographical information of many major writers and lists their paintings. complete textual content (Open entry)

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Extra info for A literary mirror : Balinese reflections on modernity and identity in the twentieth century

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2 This is an animal fable, but can be read as an allegory dealing with rank and identity, both issues close to Surya Kanta’s ideological heart. As with the poetry, the writer uses this short story to promote the goals of the organization, especially the ideas of progress and equality. This, and the social themes of the syair published in Surya Kanta, suggest strongly that early Balinese literature was highly committed to social issues, which was characteristic of Indonesian literature from the colonial period.

6 The development of Indonesian literature from Bali 37 appears that for Surya Kanta, the content of the play – attacking the caste system and promoting new ideas of Balinese identity based on personal achievement – was more important than the identity of the writer. There is no information as to whether the play was ever performed. During the inter-war period, however, it was quite common to use plays like this, containing strong messages and social commentary on Indonesia as propaganda tools or as a medium for communicating ideas of modernity and nationalism (Bagus 1996:103; Bodden 1997:332-3).

The magazine published many pieces upholding the Hindu religion, and even traditional literature such as Gaguritan megantaka, accompanied by a translation into Indonesian. It is noteworthy that Bhakti also contained a literary page called ‘Gelanggang Remaja’ (Youth Forum), which provided a place for young writers to publish their works. 15 The mention of these Indonesian writers as role models demonstrates that Balinese writers were conscious that the development of Balinese literature was aligned with that of national literature.

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