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'description' => 'SELEPAS jadi pemimpin redaksi majalah Tempo dua periode (1971-1993 dan 1998-1999), Goenawan nyaris jadi apa yang ia pernah tulis dalam sebuah esainya: transit lounger. Seorang yang berkeliling dari satu negara ke negara la¬in: mengajar, berceramah, menulis. Seorang yang berpindah dari satu tempat penantian ke tempatpenantian berikutnya,tapiakhirnya hanya punya sebuah Indonesia. Seperti ditulisnya dalam sebuah sajaknya: "Barangkali memang ada sebuah negeri yang ingin kita lepaskan tapi tak kunjung hilang.
Dalam perjalanan itu lahir sejumlah karya. Bersama musisi Tony Prabowo dan Jarrad Powel ia membuat libretto untuk opera Kali (dimulai 1996, tapi dalam revisi sampai 2003) dan dengan Tony, The King's Witch (1997-2000). Yang pertama dipentaskan di Seattle (2000), yang kedua di New York. Di tahun 2006, Pastoral, se¬buah konser Tony Prabowo dengan puisi Goenawan, dimainkan di Tokyo, 2006. Di tahun ini juga ia mengerjakan teks untuk drama tari Kali-Yuga bersama koreografer Wayan Dibya dan penari Ketut Rina beserta Gamelan Sekar Jaya di Berke¬ley, California. Tapi ia juga ikut dalam seni pertunjukan di dalam negeri. Dalam bahasa Indonesia dan Jawa, Goenawan menulis teks untuk wayang kulit yang dimainkan dalang Sudjiwo Tedjo, Wisanggeni, (1995) dan dalang Slamet Gundono, Alap-alapan Surtikanti (2002), dan drama tari Panji Sepuh koreografi Sulistio Tirtosudarmo. la menulis dan menyutradarai opera Tan Malaka pada 2010 dan 2011.
Kumpulan esainya berturut-turut: Potret Seorang Penyair Muda sebagai si Malin Kundang (1972), Seks, Sastra, dan Kita (1980), Kesusastraan dan Kekuasaan (1993), Setelah Revolusi Tak Ada Lagi (2001), Kata, Waktu (2001), Eksotopi (2002).
Sajak-sajaknya dibukukan dalam Parikesit (1971), Interlude (1973), Asmaradana (1992), Misalkan Kita di Sarajevo (1998), dan Sajak-Sajak Lengkap 1961-2001 (2001). Terjemahan sajak-sajak pilihannya ke dalam bahasa Inggris, oleh Laksmi Pamuntjak, terbit dengan judul Goenawan Mohamad: Selected Poems (2004).
Catatan Pinggir, esai pendeknya tiap minggu untuk majalah Tempo, di antaranya terbit dalam terjemahan bahasa Inggris oleh Jennifer Lindsay, dalam Side¬lines (1994) dan Conversations with Difference (2002). Kritiknya diwarnai keyakinan Goenawan bahwa tak pernah ada yang final dalam manusia. Kritik yang, meminjam satu bait dalam sajaknya, "dengan raung yang tak terserap karang".',
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'description_small' => 'Ada satu percakapan yang melibatkan Einstein di Princeton tahun 1946. Para saintis ditanya, “Anda bisa membuat bom atom. Bisa menelaah struktur atom, tapi tidak bisa men-device secara politik, yang membikin atom tidak merusak kita?”
Einstein menjawab, “Itu sederhana. Sebab politik lebih susah daripada fisika.”
Einstein tidak mengglorifikasi sains. Dan memang tidak sepatutnya diglorifikasi. Dalam banyak hal, sains itu pemilik problem. Dan itu bukan soal baru. Sains ',
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'description_small' => 'salah satu ciri sekaligus kekuatan Catatan Pinggir adalah kutipan pustakanya yang sangat luas dan beragam. Dari yang jadul sampai yang terbaru, mulai yang pop hingga yang serius, baik dari Indonesia maupun mancanegara. Kutipannya terhadap buku-buku tersebut dalam waktu yang lama telah menjadi acuan bagi saya mungkin juga bagi banyak pembaca akan sebuah bacaan yang bagus dan menarik.
Sebenarnya selalu ada bahaya ketika seorang penulis mengutip atau menukil pendapat dari sebuah buku. Bahaya ini ',
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'description_small' => 'Dan cinta kita
bersembunyi
di ujung bahasa
yang tak dilanjutkan
Goenawan menulis puisi (terakhir Tigris), karya lakon (terakhir Amangkurat, dipentaskan di Jakarta dan Kuala Lumpur), novel (Surti dan Tiga Sawunggaling), dan sampai hari ini menulis tiap pekan Catatan Pinggir di Majalah Tempo, esai-esai pemikiran yang di tahun 2017 dikumpulkan sampai 12 jilid. Orfeus, sebuah sajaknya ditafsirkan dalam koreografi oleh melati Suryodarmo, di mana Goenawan berlaku sebagai sutradara.
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'description_small' => '"Kesabaran adalah mawar yang merambat, lumut yang tak takluk karena salju."
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Ia juga menulis teks untuk wayang golek Den Kisot yang akan dipentaskan bersama peluncuran terjemahan ',
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'description_small' => 'Sebuah buku tentang perkenalan & percakapan tentang karya besar Cervantes, Don Quixote
“Inilah cerita paling sedih dari semua cerita—dan lebih menyedihkan karena ia membuat kita tertawa.”
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'description_small' => 'Goenawan Mohamad kerap menulis beberapa naskah lakon, seperti Visa, Surti dan Tiga Sawunggaling, Surat-Surat Karna, Tan Malaka, dan Gundala Gawat. Kali ini ia mengolah satu bagan sejarah Mataram di abad ke-17, tapi ini bukan lakon sejarah. Lakon ini lebih merupakan delirium seorang raja menjelang kematian dan paparan tentang apa yang terjadi dengan kekuasaan. Goenawan Mohamad merupakan seorang jurnalis dan sastrawan yang kritis dan berwawasan luas. Tanpa lelah, ia memperjuangkan kebebasan ',
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'description_small' => 'SEJARAH dibentuk oleh orang-orang tak bernama. Mereka beragam tanpa batas, silang surup, timbul lalu lenyap, dilanjutkan atau tidak. Tapi dalam politik pembebasan, massa yang tak bernama itu punya paradoksnya: ia menggerakkan, membentuk, melahirkan tokoh-tokoh. ',
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'description_small' => 'Sinopsis Buku
Buku Marxisme, Seni, Pembebasan karya Goenawan Mohamad merupakan sebuah kumpulan esai yang membahas tentang filosofi Marxisme dan hakekat paling dasar dari manusia untuk bebas berekspresi.
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'description_small' => 'BUKU ini berangkat dari sebuah tesis dasar: identitas, yang begitu sering dihebohkan, terutama “identitas nasional”, sebenarnya sesuatu yang mengelak. Menyerukan “Kenalilah dirimu!” seperti konon terdapat di tempat orang menemui orakel di Delphi, Yunani Kuno, adalah sebuah proses yang tak berujung. Cerita Dewa Ruci, yang mengisahkan perjalanan Bima mencari dirinya sendiri, sebenarnya tak punya akhir. ',
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'description_small' => '"KUMPULAN dalam buku Di Sekitar Sajak ini membahas puisi dan hal-hal yang berkaitan dengan “puisi” dalam arti luas: proses kreatif dalam teater, misalnya.
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13 Februari 2011, 07:25
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'description_small' => '"""Pagi terkadang punya melankolinya sendiri: saat sejuk yang menandai bahwa istirahat, seperti nikmat, hanya sebuah jeda.
Banyak hal tentang pagi yang ternyata tak sekadar penanda waktu. Banyak kisah yang bisa dituturkan dari sebuah pagi. Tentang kemuning, tentang harapan, burung-burung yang terus sibuk tanpa harus memilih sikap, multiplisitas yang tak tepermanai, dan tentang repetisi yang juga kelahiran kembali.
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'description_small' => 'Inilah himpunan lengkap pertama puisi-puisi dari lima windu karir Goenawan Mohamad, sang penyair, eseis dan wartawan Indonesia.
***
"... ciri khas yang paling menonjol, dan yang menjadikan puisi ini mempesona dan sekaligus sering sukar dipahami secara rasional ialah semantik kata. Metaforiknya sangat orisinal, kaya dan kuat, acap kali mengejutkan atau membingungkan .... Lebih khas lagi cara sajak Goenawan Mohamad sering mempertahankan asosiasi yang ditimbulkan oleh metafor atau perumpamaan ',
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'description_small' => 'Pemerhati sastra Indonesia terpandang A. Teeuw, berkomentar "Berbeda dengan dua kumpulan sebelumnya, buku ini menyajikan sajak-sajaknya menurut urutan kronologi tahun produksinya dengan satu kecualiannya: sajak penutup, berjudul "Meditasi...". ',
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'description' => 'SELEPAS jadi pemimpin redaksi majalah Tempo dua periode (1971-1993 dan 1998-1999), Goenawan nyaris jadi apa yang ia pernah tulis dalam sebuah esainya: transit lounger. Seorang yang berkeliling dari satu negara ke negara la¬in: mengajar, berceramah, menulis. Seorang yang berpindah dari satu tempat penantian ke tempatpenantian berikutnya,tapiakhirnya hanya punya sebuah Indonesia. Seperti ditulisnya dalam sebuah sajaknya: "Barangkali memang ada sebuah negeri yang ingin kita lepaskan tapi tak kunjung hilang.
Dalam perjalanan itu lahir sejumlah karya. Bersama musisi Tony Prabowo dan Jarrad Powel ia membuat libretto untuk opera Kali (dimulai 1996, tapi dalam revisi sampai 2003) dan dengan Tony, The King's Witch (1997-2000). Yang pertama dipentaskan di Seattle (2000), yang kedua di New York. Di tahun 2006, Pastoral, se¬buah konser Tony Prabowo dengan puisi Goenawan, dimainkan di Tokyo, 2006. Di tahun ini juga ia mengerjakan teks untuk drama tari Kali-Yuga bersama koreografer Wayan Dibya dan penari Ketut Rina beserta Gamelan Sekar Jaya di Berke¬ley, California. Tapi ia juga ikut dalam seni pertunjukan di dalam negeri. Dalam bahasa Indonesia dan Jawa, Goenawan menulis teks untuk wayang kulit yang dimainkan dalang Sudjiwo Tedjo, Wisanggeni, (1995) dan dalang Slamet Gundono, Alap-alapan Surtikanti (2002), dan drama tari Panji Sepuh koreografi Sulistio Tirtosudarmo. la menulis dan menyutradarai opera Tan Malaka pada 2010 dan 2011.
Kumpulan esainya berturut-turut: Potret Seorang Penyair Muda sebagai si Malin Kundang (1972), Seks, Sastra, dan Kita (1980), Kesusastraan dan Kekuasaan (1993), Setelah Revolusi Tak Ada Lagi (2001), Kata, Waktu (2001), Eksotopi (2002).
Sajak-sajaknya dibukukan dalam Parikesit (1971), Interlude (1973), Asmaradana (1992), Misalkan Kita di Sarajevo (1998), dan Sajak-Sajak Lengkap 1961-2001 (2001). Terjemahan sajak-sajak pilihannya ke dalam bahasa Inggris, oleh Laksmi Pamuntjak, terbit dengan judul Goenawan Mohamad: Selected Poems (2004).
Catatan Pinggir, esai pendeknya tiap minggu untuk majalah Tempo, di antaranya terbit dalam terjemahan bahasa Inggris oleh Jennifer Lindsay, dalam Side¬lines (1994) dan Conversations with Difference (2002). Kritiknya diwarnai keyakinan Goenawan bahwa tak pernah ada yang final dalam manusia. Kritik yang, meminjam satu bait dalam sajaknya, "dengan raung yang tak terserap karang".',
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$no_discount = array(
(int) 0 => (int) 2010001193678,
(int) 1 => (int) 2010001181750,
(int) 2 => (int) 2010001181767,
(int) 3 => (int) 2010001181736,
(int) 4 => (int) 2010001181743,
(int) 5 => (int) 2010001166962,
(int) 6 => (int) 2010001140221,
(int) 7 => (int) 2010001139553,
(int) 8 => (int) 2010001138846,
(int) 9 => (int) 2010001137580,
(int) 10 => (int) 2010001135500,
(int) 11 => (int) 2010001135135,
(int) 12 => (int) 2010001073796,
(int) 13 => (int) 2010001081821,
(int) 14 => (int) 2010001084686,
(int) 15 => (int) 2010001106319,
(int) 16 => (int) 2010001120469,
(int) 17 => (int) 2010001121046,
(int) 18 => (int) 2010001123521,
(int) 19 => (int) 2010001124139,
(int) 20 => (int) 2010001126324,
(int) 21 => (int) 2010001127574,
(int) 22 => (int) 2010001130055,
(int) 23 => (int) 2010001132219,
(int) 24 => (int) 2010001133490,
(int) 25 => (int) 2010001157434,
(int) 26 => (int) 2010001198611,
(int) 27 => (int) 2010001207054
)
$add_to_cart = 'disabled'
$price_display = 'disabled'
include - APP/View/Browses/product_book.ctp, line 60
View::_evaluate() - CORE/Cake/View/View.php, line 971
View::_render() - CORE/Cake/View/View.php, line 933
View::render() - CORE/Cake/View/View.php, line 473
Controller::render() - CORE/Cake/Controller/Controller.php, line 963
BrowsesController::product() - APP/Controller/BrowsesController.php, line 2268
ReflectionMethod::invokeArgs() - [internal], line ??
Controller::invokeAction() - CORE/Cake/Controller/Controller.php, line 491
Dispatcher::_invoke() - CORE/Cake/Routing/Dispatcher.php, line 193
Dispatcher::dispatch() - CORE/Cake/Routing/Dispatcher.php, line 167
[main] - APP/webroot/index.php, line 110