This present study examines the structural impact of language contact on discourse information marking in narrative. It focuses on the surface patterns and underlying linguistic principles used to describe the foregrounding events in traditional and modem short stories, written in Indonesian (the official language of Indonesia) and Sundanese (the native language of West Java province). These two languages have been in an intensive contact since 1945.The data indicate that aspect sets apart background from foreground, whereas tense distinguishes ordinary from significant within the background and foreground levels. Cross-linguistically, the ordinary background information appears in existential, stative, and progressive constructions, marked by the underlying past-tense and imperfective aspect; the significant background and significant foreground types occur in a direct speech and/or direct quote, with the underlying Historical Present. Besides signaling a switch from the past-tense to the HP, the direct speech or direct quote also marks a shift in deixis, distal to proximal. The ordinary foreground information, containing events that advance the story, appears in the underlying past-tense and perfective aspect.The surface markings of the ordinary foreground events, however, are different. In the traditional and modern Indonesian data, these events are dominantly depicted in the active-voice structure. The traditional and modern Sundanese texts, on the other hand, show two different dominant surface marking patterns: the KA (particle) and the active-voice constructions respectively. This appears as a shift in the surface marking strategy attributed to the Indonesian structural influence. The KA- to active voice surface-marking strategy shift indicates the change from the KA + Topic – Comment pattern to the Subject – Predicate structure, suggesting the adoption of the SVX word-order pattern. This affects not only the pragmatic relations of the constituents in an utterance, but also the marking of given-new information distinction.The study demonstrates that the KA to active-voice marking shift in the modern Sundanese data is mitigated by the long-term language contact with Indonesian. Follow-up investigations with varied narrative themes and oral speech data are warranted. Since the shift also appears to indicate the authors' unbalanced bilingual skills, it raises an issue pertinent to the current teaching of Sundanese in the West-Javanese provincial curriculum. / Department of English

Bibliography: leaves 355-378. / xviii, 378, [89] leaves : ill., maps ; 39 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / This thesis is concerned with the understanding and clarification of the impact of international labour migration in Indonesia. The overall aim of this study is to investigate the economic, social and demographic consequences of international labour migration on the migrants, their families, their communities of origin and their nation of origin. / Thesis (Ph.D.)--University of Adelaide, Dept. of Geography, 1997

Thesis--Utrecht, 1978. / "Stellingen" (1 leaf) inserted. Includes bibliographical references (p. 342-345).

Thesis (Ph. D.)--University of Washington, 2002. / Vita. Includes bibliographical references (leaves 420-450).

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Many studies have analysed the ways in which the dominant forces of state and capital are shaping contemporary Indonesian political economy, social relations and cultural production. More and more of such studies have evaluated the significance of the "middle class(es)" as a burgeoning social force. Few studies specifically address the social agency of the subordinated classes, the bulk of Indonesia's population, identified as the wong cilik in this study. Only recently have some scholars begun to take seriously the rapid formation of an urban working class as an increasingly important component in Indonesian social dynamics. An underlying assumption of this study is that cultural production, in particular, popular performance, is an important window on, and component of, wong cilik social agency. This assumption is pursued by observing three principal sites of cultural contestation, poetry, the shadow play, wayang kulit, and "modem" theatre. These three, often overlapping sites, are set within a broad survey of popular performance in Java, followed by a regional focus on Tegal, located on the north west coast of Central Java.A bias in analysis towards the more formal and visible aspects of cultural production, such as performance text and conventions, has led to a distortion and insufficient recognition of wong cilik social agency. The first task of this study, therefore, is to develop a better approach to identifying and evaluating wong cilik cultural agency. The approach for which we are looking demands attention be given to the less formal aspects and social context of popular performance. Here, the relationship between performance and audience is central to identifying the cultural agency of the wong cilik. Depending on the surrounding social relations which constitute the performance, space can exist for wong cilik control over cultural production and meaning ++ / through audience participation.During the course of a performance the social significance of its changing nature is closely associated with changes in audience composition and involvement. An absent, indifferent, sometimes hostile, wong cilik audience can undermine the potential of formal moments to reinforce dominant ideologies and social relations. Conversely, heightened audience participation often characterises the informal moments of a performance. The possibility of social potency is greatest in these moments of close affinity between wong cilik audience and performance. This is apparent in the relationship between audience and dalang (puppeteer) in many local performances of wayang kulit. The informal 'comic interlude', in particular, can provide opportunity for the articulation of shared meanings and concerns between the predominantly wong cilik audience and sympathetic dalang, dependent on their patronage and coming from a similar socio-economic background.As part of the intelligentsia, the dalang, as with other cultural workers, has an important, often ambiguous, role in determining the significance of cultural production for the wong cilik. Here, it is important to recognise that the cultural workers, themselves, and their performances are socially constituted. In a study on theatre in Tegal observations of audience participation assist greatly in evaluating the effectiveness or sincerity in representing or asserting wong cilik sentiment in "modern" theatre and populist wayang mbeling. In general, this focus on audience participation helps situate popular performances in their surrounding social relations. This approach helps avoid elitist or essentialist tendencies that may occur from an over emphasis on the idealised characteristics and conventions of cultural forms or genres.

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This research into Indonesian socialist-realism art, examines how art has shaped the political and social environments of the new order government. This text examines contemporary artists’ attitudes toward social commitment and social commentary during the period 1980-1995. Conflicting views of contemporary Indonesian artists were obtained from research undertaken in Indonesia in 1995. In this thesis, the problem is raised that Indonesian socialist-realism art is not only a style of art for contemporary Indonesian artists, but also as a union of artists’ attitudes towards Indonesian society. This argument is used to further understand modern Indonesian art from the ‘inner’ point of view / Master of Arts (Hons)