NOVEL CINTA INDONESIA PDF

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Novel Cinta Indonesia Pdf

Author:MARGARITO ROZZELLE
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Pages:264
Published (Last):11.11.2015
ISBN:471-8-29032-340-2
ePub File Size:29.40 MB
PDF File Size:20.74 MB
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First, the production of the film allowed the film director to challenge the authority of the novel writer. This is because both individuals have a very different background in religious education.

Habiburrahman grew up in a traditional religious family. He obtained his entire education from religious institutions, starting with pesantren,37 madrasah,38 and finally Al-Azhar University where he acquired some legitimacy to speak on religious matters.

Second, how both people construct their arguments is an important matter to be highlighted. To support his novel with authoritative arguments, Habiburrahman cited a number of standard religious books as references.

This diferent way of citing indicates that the argument which is constructed by both individuals remains open for further contestation. A great number of women movements condemn this kind of marriage due to the high risk of violating the rights of women and children of polygamous families. The majority of Indonesian society is also against this form of marriage. For instance, a gender rights activist and professor of Islamic political thought at the State Islamic University UIN of Syarif Hidayatullah Jakarta, Siti Musdah Mulia, published a book in which she argues that polygamy is not compatible with the spirit of Islam in modern society, and that Indonesian marriage law legalising some kinds of polygamy should be revised.

In the midst of the cotrovercy over polygamy, the film Ayat-ayat Cinta is partly concerned with this sensitive issue. In this context, the problematic and sensitive public debate about the message of polygamy developed in the film could probably give rise to public fragmented religious authorities. Compared to its novel version, the film gives more attention to polygamy.

When being asked about the main message of the film, most of the members of the Islamic learning group in Agung Mosque who had watched the film mentioned the issue of polygamy as a significant plot. In his interview, Hanung Bramantyo also admitted that polygamy has been his main message in this film.

He stated that he wanted to draw the attention of the audience to the Islamic universal theme of love which ended up in polygamy. The issue of polygamy can be easily found in the story line of Ayat- ayat Cinta.

Fahri, being jailed for rape accusation, is forced by Aisha to marry the unconscious Maria, the only witnesses able to free Fahri from the accusation. Third, there has been a Muslim character inside the Coptic Maria. However, even though the polygamous marriage was approved by Aisha, in the later scenes it hardly runs smoothly.

Fahri is not able to share his love fairly between his wives. Nonetheless, when Fahri asks her to return home to help him face the polygamous marriage sincerely, she follows him. Finally, the polygamous family is later depicted as a joyful one until the moment when Maria dies and they conduct a congregational prayer.

Before she dies, Maria apologizes to Aisha for not being able to differentiate between love and possessive desire. To get a better understanding of the practices of polygamous marriage, a comparison between this kind of mariage developed in the film Berbagi Suami Husband for Sharing produced by Nia Dinata in and in the film Ayat-ayat Cinta needs to be undertaken.

The latter seems to be a counter attack against the former. The former tends to emphasize polygamous family as a sexual domination of the husband over his subordinated wives. Accordingly, it was mainly a sexual reason that pushes the husbands Bang Haji, Koh Abun and Pak Lik towards polygamous marriage. However, the wives are depicted as victims —for the sake of social status or material reasons— even though in some cases Salma, Siti, and Ming finally found their own enlightened ways to escape from polygamy.

In contrast, polygamy in the film Ayat-ayat Cinta is depicted in a more conservative manner. It appears more as a solution for a problem rather than as a condition for conflict. Rather, it is a religious and humanistic reason that encourages Aisha to command her husband to marry the Coptic lady.

In short, polygamy is by no means widely permitted in this film. Furthermore, their arguments are increasingly contested not only from a specific viewpoint but rather from various perspectives.

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However, religious authority is apparently seen as important in authorizing these arguments, even though the unrelenting debate about the issue of polygamy indicates that no absolute authority actually exists. However, it is not used by its audience as a primary source of religious authority. Despite that, the public screening has invited Muslim publics to voice their opinions about certain religious issues revealed in the film.

Accordingly, the film has created a Muslim public sphere thanks to the internet and other mass publications, where all Muslim people from different religious background are welcome to take part in the debate. Regardless of their authorities, they can all take part in the debate about what Anderson and Eickelman call the common good.

Furthermore, the argumentation is not based on superiority. Rather, there is no supreme argument that is able to end the debates. But film has left the theater house, infiltrated old rituals and fashioned new rituals…Film merges into the public spaces of civic life.

Leiden: Brill, , pp. Burhanuddin, Jajat. Hirschkind, Charles. Religion, Media, and the Public Sphere. Bloomington and Indianapolis: Indiana University Press, , pp. Eickelman, Dale F. Anderson eds.

Bloomington and Indianapolis: Indiana University Press, Eickelman, Dale. El-Shirazy, Habiburrahman. Farihah, Ipah and Heriyanto.

Gaborieau, Marc. Conference Paper. Bogor, July The Structural Transformation of the Public Sphere. Cambridge: Polity Press, Haryadi, Rohmat. Jakarta: Penerbit Hikmah, Heider, Karl G.

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