Wikiquote suwikiquote https://su.wikiquote.org/wiki/Tepas MediaWiki 1.47.0-wmf.2 first-letter Média Husus Obrolan Pamaké Obrolan pamaké Wikiquote Obrolan Wikiquote Gambar Obrolan gambar MédiaWiki Obrolan MédiaWiki Citakan Obrolan citakan Pitulung Obrolan pitulung Kategori Obrolan kategori TimedText TimedText talk Modul Pembicaraan Modul Acara Pembicaraan Acara 0 5929 16612 16524 2026-05-17T09:20:05Z Hasnanf 1958 16612 wikitext text/x-wiki '''Anas Al-Sharif''' nyaéta jurnalis Paléstina sarta videografer média Al-Jazeera, anu dipikawanoh ku réportase anjeunna ti garis hareup génosida Israél di Gaza kalér. Anjeunna kungsi meunang panghargaan Pulitzer Prize Breaking News Photography pikeun karya potograpi anjeunna anu "nyata tur gawat" salila ngadokuméntasikeun kaayaan Gaza. Anas Al-Sharif tilar dunya di taun 2025, dina serangan Israél anu ngahaja nargétkeun anjeunna sarta sababaraha jurnalis lainna, di ténda pangungsian luareun Rumah Sakit Al-Shifa di Kota Gaza. == Cutatan == ''This is my will and my final message. If these words reach you, know that Israel has succeeded in killing me and silencing my voice.'' ''First, peace be upon you and Allah’s mercy and blessings. Allah knows I gave every effort and all my strength to be a support and a voice for my people, ever since I opened my eyes to life in the alleys and streets of the Jabaliya refugee camp. My hope was that Allah would extend my life so I could return with my family and loved ones to our original town of occupied Asqalan (al-Majdal). But Allah’s will came first, and His decree is final.'' ''I have lived through pain in all its details, tasted suffering and loss many times, yet I never once hesitated to convey the truth as it is, without distortion or falsification – so that Allah may bear witness against those who stayed silent, those who accepted our killing, those who choked our breath, and whose hearts were unmoved by the scattered remains of our children and women, doing nothing to stop the massacre that our people have faced for more than a year and a half.'' ''I entrust you with Palestine – the jewel in the crown of the Muslim world, the heartbeat of every free person in this world. I entrust you with its people, with its wronged and innocent children who never had the time to dream or live in safety and peace. Their pure bodies were crushed under thousands of tons of Israeli bombs and missiles, torn apart and scattered across the walls. I urge you not to let chains silence you, nor borders restrain you. Be bridges toward the liberation of the land and its people, until the sun of dignity and freedom rises over our stolen homeland.'' ''I entrust you to take care of my family. I entrust you with my beloved daughter, Sham, the light of my eyes, whom I never got the chance to watch grow up as I had dreamed. I entrust you with my dear son, Salah, whom I had wished to support and accompany through life until he grew strong enough to carry my burden and continue the mission. I entrust you with my beloved mother, whose blessed prayers brought me to where I am, whose supplications were my fortress and whose light guided my path. I pray that Allah grants her strength and rewards her on my behalf with the best of rewards.'' ''I also entrust you with my lifelong companion, my beloved wife, Umm Salah (Bayan), from whom the war separated me for many long days and months. Yet she remained faithful to our bond, steadfast as the trunk of an olive tree that does not bend – patient, trusting in Allah, and carrying the responsibility in my absence with all her strength and faith. I urge you to stand by them, to be their support after Allah Almighty.'' ''If I die, I die steadfast upon my principles. I testify before Allah that I am content with His decree, certain of meeting Him, and assured that what is with Allah is better and everlasting. O Allah, accept me among the martyrs, forgive my past and future sins, and make my blood a light that illuminates the path of freedom for my people and my family. Forgive me if I have fallen short, and pray for me with mercy, for I kept my promise and never changed or betrayed it.'' ''Do not forget Gaza. And do not forget me in your sincere prayers for forgiveness and acceptance.'' :Ieu mangrupakeun wasiat sareng amanat panungtung sim kuring. Upami serat ieu dugi ka anjeun sadaya, terangkeun yén Israél parantos hasil ngabunuh sim kuring sarta mareuman sora sim kuring. :Sateuacanna, mugi kasalametan sarta rahmat sareng berkah Allah aya pikeun urang sadaya. Allah mikaterang yén sim kuring tos masihan sagala usaha sarta sagala kakuatan sim kuring pikeun jadi dukungan sareng sora kanggo dulur-dulur sim kuring, ti sim kuring muka soca kana kahirupan di gang-gang sareng jalan-jalan kamp pangungsian Jabaliya. Harepan sim kuring téh mugi Allah manjangkeun yuswa sim kuring supados sim kuring tiasa uih sareng kulawargi sim kuring sarta sadaya anu sim kuring pikaasih ka lembur matuh sim kuring, Asqalan (al-Majdal) anu dijajah. Nanging kersa Allah langkung ti payun, sarta katangtosan Mantenna parantos mutlak panungtung. :Sim kuring parantos hirup nandangan kapeurih dina sagala rupi jéntréna, ngarasakeun kasangsaraan sarta kaleungitan anu deui-deui tumiba, nanging sim kuring henteu pernah barang sakali asa-asa pikeun nepikeun bebeneran sakumaha ayana, tanpa aya nu diréka-réka atanapi dipalsukeun - supados Allah anu nyakséni ka jalma-jalma anu ngabisu, jalma-jalma anu narima ditelasanna kuring sadaya, jalma-jalma anu mareuman napas kuring sadaya, sarta jalma-jalma anu manahna henteu kagerak ku pasolengkrahna jasad murangkalih sarta kaum wanoja urang sadaya, henteu ngalakonan nanaon pikeun ngeureunkeun pangbantéyan anu tos karandapan ku dulur-dulur urang sadaya leuwih ti sataun satengah. :Sim kuring mercantenkeun Paléstina ka anjeun sadaya – mustika dina makuta dunya Muslim, degap jajantung sakabéh jalma anu merdika di dunya ieu. Sim kuring mercantenkeun rahayatna ka anjeun sadaya, sakaligus jeung murangkalihna anu dizaliman sarta beresih tina dosa anu teu gaduh waktos kanggo ngimpén atawa hirup dina kaamanan jeung kadaméyan. Raga sucina diancurkeun handapeun rébuan ton bom sareng misil Israél, rajét tur pasoléngkrah sumébar kana témbok. Sim kuring ngadesek anjeun piken ulah ngantep ranté mareuman sora anjeun, atawa tapal wates ngahalangan anjeun. Jadi sasak ka arah pambébasan taneh ieu jeung rahayatna, dugi ka panonpoé martabat sarta kabébasan medal di luhureun lemah cai urang sadaya anu direbut. :Sim kuring mercantenkeun ka anjeun kanggo ngajagi kulawargi sim kuring. Sim kuring mercantenkeun ka anjeun putri sim kuring anu dipikadeudeuh, Sham, kembang soca sim kuring, anu ku sim kuring teu tiasa kénging kasempetan kanggo nyaksikeun anjeunna tumuwuh déwasa sakumaha ku sim kuring impénkeun. Sim kuring mercantenkeun ka anjeun putra sim kuring, Salah, anu sim kuring harepkeun tiasa ku sim kuring rojong sarta sarengan salila hirupna dugi ka anjeunna tumuwuh cekap kuat kanggo nanggung beban sim kuring sarta ngalajengkeun misina. Sim kuring mercantenkeun ka anjeun biang sim kuring anu dipikadudeuh, anu du'a-du'ana nu diberkahan tiasa nyandak sim kuring dugi ka dimana ayeuna sim kuring aya, anu du'a-du'ana janten pananggeuhan sim kuring sarta cahayana nunjukkeun jalan sim kuring. Sim kuring ngadu'a mugi Allah masihan anjeunna kakiatan sareng maparin anjeunna ganjaran anu panghadéna dina nami sim kuring. :Sim kuring oge mercantenkeun ka anjeun réncang satia saumur hirup sim kuring, istri sim kuring pamatri ati, Umm Salah (Bayan), anu dipisahkeun ti kuring ku perang ieu salila poé jeung bulan. Nanging anjeunna tetep satia kana beungkeutan urang duaan, panceg sapertos watang tangkal jetun anu moal melung - tabah, percaya ka Allah, sarta ngemban tanggung jawab nalika sim kuring nuju tebih, kalayan sakumna kakiatan sarta kaimananana. Sim kuring ngadesek anjeun sadaya pikeun kersa nyarengan aranjeunna, janten pangrojong aranjeunna saparantos Allah Nu Maha Kawasa. :Upami sim kuring tilar dunya, sim kuring tilar dunya panceg dina prinsip-prinsip sim kuring. Sim kuring nyakséni di payuneun Gusti Allah yén sim kuring ridho kana sagala papastén-Na, yakin yén baris tepung sareng Anjeunna, sarta yakin yén sagala rupi anu aya sareng Allah téh leuwih hadé sarta lana. Ya Allah, mugi kersa nampi sim kuring di antawis para syuhada, sarta ngahapunten dosa-dosa sim kuring boh nu tos kalangkung atanapi anu bakal dongkap, sarta jantenkeun getih sim kuring cahaya anu nyaangan jalan kamerdikaan pikeun kulawarga sareng bangsa sim kuring. Hapunten sim kuring upami parantos nguciwakeun, sarta du'akeun sim kuring kalayan welas asih, margi sim kuring parantos nuhunkeun kana jangji sarta teu kungsi robah pon kuitu deui moal khianat. :Tong hilap ngeunaan Gaza. Sarta tong hilap ka sim kuring dina doa-doa anjeun anu tulus pikeun pangampunan sareng panarimaan. == Tutumbu Luar == [https://x.com/AnasAlSharif0/status/1954670507128914219 Amanat panungtung Anas Al-Sharif sateuacan anjeunna tilar dunya.] [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] [[Category: Inohong]] [[Category: Inohong Paléstina]] qo03x5t9wqxclfvfu9hrfwupx65trb0 0 5931 16613 16528 2026-05-17T09:21:45Z Hasnanf 1958 16613 wikitext text/x-wiki '''Mohammad Bakri''' nyaéta aktor sakaligus sutradara Paléstina, anu ogé dinilai jadi salah sahiji inohong punjul dina sajarah perpileman Paléstina. Salah sahiji karyana anu paling katelah, nyaéta pilem dokuménter, ''[[Jenin, Jenin]],'' sarta pilemna nu pang anyarna nyaéta ''[[All That's Left of You]]'' anu dirilis taun 2025. Mohammad Bakri tilar dunya taun 2025, dina yuswa 72 taun. == Cutatan == * ''Sabra and Shatila shook Israel in a fashion that Gaza sadly did not today.'' Sabra sareng Shatila ngoyagkeun Israél dina hiji kaayaan anu, hanjakalna, teu kajantenan ku Gaza ayeuna. * ''Let me tell you about the Palestinian film industry. Very simply, we do not have one. We have some very talented film-makers, but that's about it. We have no film schools and we have no studios. We have no infrastructure because we have no country.'' Sim kuring pasihan terang ka anjeun ngeunaan industri pilem Paléstina. Saderhana pisan, urang teu gaduh sama sekali. Urang migaduh sababaraha sinéas anu berbakat pisan, tapi kitu hungkul. Urang teu gaduh sakola pilem sarta urang teu gaduh studio. Urang teu gaduh inprastruktur lantaran urang teu gaduh nagara. * ''Let me use a popular proverb: “The chicken thief is always touching his head,” fearing that a feather might be stuck there. They stole the land and claimed historical ownership based on an exclusionary ideology; anyone who rejects this is labeled an aggressor and heretic and must be excluded to ensure their continued existence. Unfortunately, the international system does not hold them accountable, and many Arab states ally with them unconditionally.'' Idinan sim kuring nganggo paribasa katelah: "Maling hayam téh tuluy nyabakan sirahna," kasieunan yén buluna téh tingaleun di dinya. Maranéhna maok taneuh sarta ngaku kapamilikan sajarah dumasar kana idéologi pangasingan; saha waé ano nolak ieu téh baris dicap salaku pihak anu nyerang sareng sasar sarta kudu diasingkeun pikeun mastikeun katerasan kahirupanna. Hanjakalna, sistem internasional henteu nungtut akuntabilitas maranéhna, sarta loba nagara Arab téh ngadukung maranéhna tanpa sarat. * ''In conclusion, we will not surrender, and we will continue to resist through art.'' Kasimpulanna, urang sadaya moal sumera, sarta urang sadaya bakal teras ngalawan nganggo seni. * ''We had a cinema in a town that had no electricity. The noises emanating from the projector were louder than the sound of the films.'' Urang miboga bioskop di kota anu teu aya listrikna. Sora-sora anu mancar tina proyéktorna téh leuwih tarik dibanding sora tina pilemna. * ''Arab artists are anxious about working with us, especially in Egypt, home of the biggest film and TV industry in the region. When Egyptian authorities are preventing aid convoys from entering Gaza through the Rafah crossing, it cannot allow a Palestinian actor like me to be part of its cinema.'' Seniman-seniman Arab téh hariwang pikeun didamel sareng arurang, utamina di Mesir, imah ti industri perpileman sarta télépisi pangbadagna di wilayah ieu. Nalika otoritas Mesir nyegah konpoi bantuan pikeun lebet ka Gaza ngaliwatan pameuntasan Rafah, éta téh teu bisa ngidinan aktor Paléstina siga sim kuring pikeun jadi bagéan ti perpilemannana. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] [[Category: Inohong]] [[Category: Inohong Paléstina]] qp9lip40e9y6w7ztn9yyaa0wf2ktq9a 0 5977 16599 16556 2026-05-16T12:37:54Z Hasnanf 1958 16599 wikitext text/x-wiki [[Gambar:Jean-Luc Godard at Berkeley, 1968 (2).jpg|jmpl|Jean-Luc Godard, 1968]] '''Jean-Luc Godard''' nyaéta sutradara, sinéas, sarta kritikus film asal Perancis-Swiss anu kasohor ku karyana nu méré pangaruh gedé dina aliran pilem ''french new wave'' atawa prancis gelombang anyar. Karya-karya anjeunna anu kasohor, nyaéta ''[[Breathless]], [[Pierrot le Fou]], [[Vivre sa vie]],'' ogé ''[[La Chinoise]].'' Anjeunna ngantunkeun taun 2022, dina yuswa 91 taun. Di taun 2025, pilem [[Nouvelle Vague (pilem)|Nouvelle Vague]] karya [[Richard Linklater]] dijieun sangkan ngahargaan jasa anjeunna di dunia pilem. == Cutatan == * ''In the beginning, I believed in Cannes, but now it's just for publicity. People come to Cannes just to advertise their films, not with a particular message. But the advantage is that if you go to the festival, you get so much press coverage in three days that it advertises the film for the rest of the year.'' ** Di mimitina mah sim kuring téh percaya ka Cannes, nanging ayeuna éta téh ngan saukur pikeun publisitas. Jalma-jalma anu datang ka Cannes téh ngan saukur pikeun ngiklankeun pilem-pilem anjeunna, henteu disartaan ku hiji pesen husus. Nanging kaunggulanna téh upami anjeun indit ka éta péstival, anjeun bakal meunang loba pisan liputan prés dina tilu poé anu tuluy bakal ngiklankeun pilemna pikeun sataun sanggeusna. * ''In my cinema, there are never any intentions. It's not me inventing this empty auditorium. I don't want to say anything, I try to show, or to get feeling across, or to allow something else to be said after the fact.'' ** Dina sinéma kuring, tara pernah aya niat nanaon. Ieu téh lain sim kuring anu nyiptakeun ieu auditorium kosong. Sim kuring teu hayang nyarios nanaon, sim kuring nyoba jang nunjukkeun, atawa nepikeun ieu rarasaan, atawa pikeun ngamungkinkeun hiji hal nu lian disebutkeun sanggeus paktana. * ''Great cinema makers are close to anarchists.'' ** Pancipta sinéma anu hadé téh deukeut pisan ka anarkis. * ''We’re talking about solidarity with the students and the workers and you’re speaking about travelling shots and close-ups. You’re a prick!'' ** Urang téh ngomongkeun ngeunaan solidaritas jeung mahasiswa jeung kaum pagawé, nanging anjeun ngan nyarita ngeunaan sorotan ''travelling'' jeung ''close-ups.'' Kurang ajar manéh! * ''Beauty is composed of an eternal, invariable element whose quantity is extremely difficult to determine, and a relative element which might be, either by turns or all at once, period, fashion, moral, passion.'' ** Kaéndahan téh diwangun ku hiji élemén anu langgeng tur ajeg anu kuantitasna kacida héséna pikeun ditangtukeun, sarta hiji élemén rélatip anu mungkin waé, gonta-ganti atawa kabéh sakalian, mangsa, modeu, moral, hancengan. * ''The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn't.'' ** Sinéma téh lain seni di mana pilem téh hirup: sinéma téh hiji hal antara seni jeung hirup. Henteu siga lukisan jeung sastra, sinéma téh méré pikeun kahirupan sakaligus nyokot tina kahirupan, sarta sim kuring nyoba pikeun ngahijikeun konsép ieu dina pilem-pilem sim kuring. Sastra jeung lukisan téh aya minangka seni ti mimitina; sinéma mah henteu. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] 1b1v8235pffucaojlhpkv9fe6m0ib0k 0 5981 16608 16558 2026-05-16T13:34:49Z Hasnanf 1958 16608 wikitext text/x-wiki '''R. F. Kuang''' nyaéta penulis Tionghoa-Amerika anu mayoritas bukuna ngeunaan aliran fantasi. Anjeunna kasohor ku bukuna, nu di antawisna ''[[Babel, or the Necessity of Violence]]''. Di taun 2025, anjeunna ngarilis buku anyarna anu dijudulan [[Katabasis (buku 2025)|''Katabasis'']]. == Cutatan == * ''That's just what translation is, I think. That's all speaking is. Listening to the other and trying to see past your own biases to glimpse what they're trying to say. Showing yourself to the world, and hoping someone else understands.'' (tina bukuna, Babel) ** Éta téh ngan kumaha tarjamahan téh, sim kuring pikir. Éta téh kumaha nyarios téh. Ngadangukeun ka batur sarta nyoba ningali ngaliwatan bias urang ka sakilas naon anu anjeunna coba tepikeun. Nunjukkeun diri anjeun ka dunya, sarta miharep aya hiji jalma lian anu ngarti. * ''English did not just borrow words from other languages; it was stuffed to the brim with foreign influences, a Frankenstein vernacular. And Robin found it incredible, how this country, whose citizens prided themselves so much on being better than the rest of the world, could not make it through an afternoon tea without borrowed goods.'' (tina bukuna, Babel) ** Basa Inggris téh henteu ngan saukur nginjeum kekecapan ti basa séjén; éta téh dipinuhan ku pangaruh-pangaruh luar, hiji vérnakular ''Frankenstein.'' Sarta Robin manggihan éta téh luar biasa, kumaha ieu nagara, anu rahayatna bangga ku dirina sorangan kusabab ngarasa leuwih hadé ti jalma lianna di dunya, teu bisa ngaliwatan pikeun entéh burit tanpa barang-barang nu diinjeum. * ''She’s the only divine thing he’s ever believed in. The only creature in this vast, cruel land who could kill him. And sometimes, in his loveliest dreams, he imagines she does''. (tina bukuna, The Drowning Faith) ** Anjeunna téh ngan hiji-hijina perkawis luhung anu ku anjeunna dipercaya. Hiji-hijina mahluk di dunya anu lega tur telenges anu bisa ngabunuh anjeunna. Sarta sakapeung mah, dina impénanna anu paling hadé, anjeunna ngabayangkeun anjeunna téh ngersakeun éta. * ''You humans always think you’re destined for things, for tragedy or for greatness. Destiny is a myth. Destiny is the only myth. The gods choose nothing. You chose.'' (tina bukuna, The Poppy War) ** Anjeun manusa téh teu weléh mikir anjeun téh ditakdirkeun pikeun hal-hal, siga tragédi pikeun kahadéan. Takdir téh mitos. Takdir téh hiji-hijina mitos. Déwa-déwa téh henteu milih nanaon. Anjeun nu milih. * ''People will seek to use you or destroy you. If you want to live, you must pick a side. So do not shirk from war, child. Do not flinch from suffering. When you hear screaming, run toward it.'' (tina bukuna, The Dragon Republic) ** Jalma téh bakal néang pikeun ngamangpaatkeun anjeun atawa ngarusak anjeun. Upami anjeun hoyong hirup, anjeun kudu milih hiji pihak. Janten entong kabur ti perang. Ulah ngahindar ti kapeurih. Nalika anjeun ngadangu sora ngajorowok, lumpat deukeutan. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] f10x1sc8fbeqrd56rnu735atsg4jvqz 0 5982 16611 16561 2026-05-16T13:53:57Z Hasnanf 1958 16611 wikitext text/x-wiki [[Gambar:David lynch grayscale.jpg|jmpl|David Lynch, 2007]] '''David Lynch''' nyaéta sinéas, sutradara, penulis skenario, musisi, sakaligus pelukis Amérika Serikat. Anjeunna kasohor kalayan jadi sinéas anu méré pangaruh panggedena jang dunia perpileman. Karya-karya anjeunna anu katelah, nyaéta pilem ''[[Eraserhead]]'', ''[[Blue Velvet]]'', ''[[Mulholland Drive]]'', sarta sérial télépisi, ''[[Twin Peaks]].'' '''David Lynch''' tilar dunya di taun 2025, dina yuswa 78 taun. == Cutatan == * ''It's better not to know so much about what things mean or how they might be interpreted or you'll be too afraid to let things keep happening. Psychology destroys the mystery, this kind of magic quality. It can be reduced to certain neuroses or certain things, and since it is now named and defined, it's lost its mystery and the potential for a vast, infinite experience.'' ** Éta téh leuwih hadé pikeun teu terang loba ngeunaan harti tina hal-hal atawa kumaha éta téh bisa dihartikeun atawa anjeun bakal jadi leuwih sieun pikeun hal-hal terus kajadian. Psikologi ngancurkeun misterina, ieu hiji kualitas magis. Éta bisa diréduksi jadi hiji neuroses atawa hiji hal, sarta kumargi éta téh ayeuna dinamian tur didéfinisikeun, éta téh kaleungitan misterina sarta poténsina pikeun pangalaman anu lega tur teu kawates. * ''It makes me uncomfortable to talk about meanings and things. It's better not to know so much about what things mean. Because the meaning, it's a very personal thing, and the meaning for me is different than the meaning for somebody else.'' ** Éta téh nyieun sim kuring teu nyaman pikeun nyarioskeun ngeunaan harti jeung hal. Éta téh leuwih hadé pikeun teu terang loba ngeunaan naon hartina hal-hal. Kusabab hartina, éta téh hiji hal anu personal pisan, sarta hartina pikeun sim kuring téh béda dibandingkeun hartina pikeun batur nu lian. * ''I think that ideas exist outside of ourselves. I think somewhere, we're all connected off in some very abstract land. But somewhere between there and here ideas exist. And I think the mind isn't conscious enough to go all the way to where we're connected, but it's conscious of a certain amount of that territory. And when these ideas fly into the conscious part, then you can capture them. But if they're outside of the conscious part, you don't even know about them. So you just hope that you can make the conscious part of your mind bigger or that these ideas will fly into your airspace, so you can shoot them down and grab them and take them home. So that's all you try to do. Sometimes an idea will strike you when you're sitting in a quiet chair. But sometimes an idea will strike you when you're standing. Sometimes music will also help you. If I thought I could just sit still in a quiet place and get ideas, I would do that all the time, but sometimes nothing happens. There's no rhyme or reason to it. But you've got to write them down right away. I forget so many things. Then if I forget it and try to remember it, my whole day is ruined because I can't remember and I feel horrible. And I imagine that it was one of the all time great ideas. And it probably isn't.'' ** Sim kuring pikir gagasan téh aya di luar diri urang sorangan. Sim kuring pikir di hiji tempat, urang téh kasambung di hiji taneuh nu abstrak. Nanging di hiji tempat antara di dinya jeung di dieu gagasan téh aya. Sarta sim kuring pikir yén pikiran téh henteu cukup sadar pikeun indit ka dinya di mana urang téh kasambung, nanging éta téh sadar dina sababaraha bagéan ti éta téritori. Sarta nalika gagasan-gagasan éta téh ngapung ka bagéan anu sadar, teras anjeun téh bisa néwak éta gagasan. Nanging upami éta téh di luar bagéan anu sadar, anjeun téh henteu apal ngeunaan éta. Janten anjeun téh ngan miharep yén anjeun tiasa ngajieun bagéan sadar tina pikiran anjeun atawa éta gagasan téh bakal ngapung kana rohangan hawa anjeun, janten anjeun téh bisa némbak éta tuluy nyandak éta tuluy ngabawa éta balik ka imah. Janten éta téh sagala anu ku anjeun dicoba lakonan. Sakapeung mah gagasan téh bakal nyerang anjeun nalika anjeun calik dina korsi nu jempling. Tapi sakapeung gagasan téh bakal nyerang anjeun nalika anjeun tatih. Sakapeung musik téh mantuan anjeun ogé. Upami sim kuring pikir sim kuring bisa calik cicing dina tempat nu jempling teras meunang gagasan, sim kuring bakal teras ngalakukeun éta, tapi sakapeung teu kajadian nanaon. Teu aya rima atawa alesan pikeun éta. Nanging anjeun kedah nulis gera-gera. Sim kuring hilap ngeunaan loba hal. Teras sim kuring hilap jeung nyobi nginget-nginget, sakabéh poé sim kuring téh jadi ancur kumargi sim kuring henteu bisa inget sareng sim kuring ngarasa goréng. Sarta sim kuring ngabayangkeun yén éta téh salah sahiji gagasan panghadéna sapanjang mangsa. Tapi meureun éta téh sanés. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] 6m4gsdkj8ivxaxazxb9tco47yxwispw 0 5993 16598 16595 2026-05-16T12:24:32Z Hasnanf 1958 /* Cutatan ngeunaan buku ieu */ 16598 wikitext text/x-wiki '''The Eleventh Hour''' nyaéta buku kumpulan carita pondok anu ditulis ku Salman Rushdie. Buku ieu mimiti diterbitkeun taun 2025. Buku ieu nyaritakeun lima carita pondok ngeunaan ajal jeung papastén, titinggal jeung idéntitas. Lima carita éta nyandak latar di India, Inggris, sareng Amérika, tempat-tempat anu kungsi janten imah pikeun Salman Rushdie, sarta ngéksplorasi pandeukeutan sabelas jam kahirupan. == Cutatan == * ''I listened to her string of non sequiturs, entranced. I understood what she was telling us. There was no coherence. Nothing led to anything else. There were only jagged moments of half comprehension. Nothing could be known. We were all incomplete, unfinished. That was life until completed by death. And none of us could complete our own story because we would no longer be present. We were all frozen in our railway carriages waiting for another to finish our tale, to complete us, if anyone cared to do so. Otherwise, unfinishedness was our inescapable fate.'' ** Sim kuring ngabandungan runtuyan cariosan pabaliut anu dikedalkeun ku anjeunna, kalayan rasa kabéngbat. Sim kuring ngarti naon anu ku anjeunna ditepikeun. Teu aya harti nu nyambung. Teu aya nu nunjukkeun ka hal nu lianna. Saukur aya mangsa-mangsa seukeut ti pamahaman anu satengah-satengah. Teu aya nu bisa dipikaterang. Urang sadaya téh henteu kumplit, henteu réngsé. Éta téh kahirupan nepi ka dipinuhan ku maot. Sarta teu aya di antara urang anu bisa minuhan carita urang sorangan kusabab urang moal aya deui. Urang ngabeku di jalan karéta ngantosan pikeun nu séjénna nganggeuskeun carita urang, nganggeuskeun urang, upami aya hiji jalma anu paduli pikeun éta. Sanajan kitu, kateuanggeusan mangrupakeun nasib anu teu bisa disingkahan. == Cutatan ngeunaan buku ieu == * Salman Rushdie, panulis: "''I think partly it’s a consequence of my having had a close shave, you know? That focuses the mind on such subjects as mortality. It’s also just because, you know, I’m not in the first flush of youth anymore. I mean, I’m 78 now.'' ''So that in itself makes you think about the last act, you know, and there’s a brilliant essay by the writer Edward Said called ‘On Late Style,’ in which he discusses how artists have approached and should approach the kind of final act. And some people respond with serenity, and others respond with rage. Thinking about that, I thought it’s not necessarily either-all, you could be peaceful on Monday and angry on Tuesday, you know? So anyway, I began to think about how people engage with that final act. And there’s different stories and different approaches to that subject."'' ** Sim kuring pikir sapalihna téh éta mangrupakeun balukar sim kuring ampir cilaka, anjeun terang? Pikiran anu pokus dina subyék siga kapatian. Éta ogé ngan kusabab, anjeun terang, sim kuring téh tos henteu di mangsa ngora anu sumanget deui. Maksud sim kuring, ayeuna sim kuring téh yuswa 78. Janten éta téh ngajieun anjeun mikirkeun ngeunaan tindakan panungtungan, anjeun terang, sarta aya ieu hiji éséy anu saé ditulis ku panulis [[Edward Said]] anu kasebut '''On Late Style'',' nu mana anjeunna téh nyarioskeun kumaha seniman téh nyingharepan sarta kumaha kuduna nyingharepan tindakan panungtungan éta. Sarta sababaraha jalma téh ngawaler ku katenangan, sababaraha lianna ngawaler ku kabendu. Mikiran ngeunaan éta, sim kuring pikir yén éta téh sama sekali henteu perlu, anjeun bisa waé tengtrem di Senén teras ambek di Salasa, anjeun terang? Ku kituna, sim kuring muléy mikir ngeunaan kumaha batur téh aub jeung tindakan panungtungan éta. Sarta aya carita-carita anu béda sarta cara nyinghareupan nu béda pikeun subyék éta. * ''"Well, again, you know, I always like it when it happens to me, when the story surprises me.'' ''For me, it’s always a sign that the story has life, when the story starts suggesting things to its author. I wasn’t expecting language to be embodied as a woman. And then one day, when I was working on the story, she just walked into the piazza and sat down on a stool in the corner and announced herself. And I thought, ‘Oh, that’s so interesting.’ I would never have, as it was sat down consciously to think, ‘I will characterize language as a person.’ But the moment it happened, I thought, ‘Oh, I really like that and I want to see what I could do with that.’"'' ** Nya, deui, anjeun terang, sim kuring resep wae nalika éta kajadian ka sim kuring, nalika caritana téh teu disangka-sangka. Pikeun sim kuring, éta téh teu weléh tanda yén carita éta téh miboga kahirupan, nalika caritana téh dimimitian ku méré hiji saran pikeun panulisna. Sim kuring henteu nyangka yén basa téh diwujudkeun minangka wanoja. Teras hiji mangsa, nalika sim kuring nuju ngerjakeun carita éta, anjeunna téh ngaléngkah lebet ka ''piazza'' teras calik dina korsi di juru jeung ngawanohkeun anjeunna. Teras sim kuring pikir, 'Oh, éta téh menarik.' Sim kuring moal pernah, minangka éta téh calik, sacara sadar mikir 'Sim kuring bakal ngibaratkeun basa minangka jalma.' Nanging nalika éta kajadian, sim kuring mikir, 'Oh, sim kuring resep pisan éta sareng sim kuring hoyong ningal naon anu ku sim kuring tiasa lakukeun ngeunaan éta.' [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] 4ly2emc6ugli86xweg9l8efbnaq1isy 0 5996 16619 16585 2026-05-17T09:23:38Z Hasnanf 1958 16619 wikitext text/x-wiki '''Saleh Al-Jafarawi''' nyaéta jurnalis, ''influencer,'' sakaligus atlét ténis méja Paléstina. Anjeunna aktip ngawartakeun kaayaan di Gaza, Paléstina sababaraha taun katukang. Saleh tilar dunya taun 2025 kusabab jadi korban pembunuhan géng anu disenjataan ku Israél. == Cutatan == ''In the Name of God, the Most Compassionate, the Most Merciful.'' ''Praise be to God, Lord of all creation, who says: “Do not think of those who are killed in the way of God as dead. No, they are alive, receiving provision from their Lord.”'' ''I am Saleh.'' ''I leave this testament not as a farewell, but as a continuation of the path I chose with utter conviction.'' ''God is my witness that I have poured all my strength and effort into being a support and a voice for my people. I have lived through pain and oppression in every detail, tasted agony, and mourned the loss of loved ones again and again. Yet, not for a day did I hesitate to convey the truth as it is. This truth will stand as a testament against every person who faltered or remained silent, and as an honor to every person who gave their support and stood with the most dignified, cherished, and noble of all people—the people of Gaza.'' ''If I am martyred, know that I am not gone. I am in Paradise now, with my comrades who went before me; with Anas, Ismail, and all the beloved souls who were true to the covenant they made with God. I charge you to remember me in your prayers and to continue the journey after me. Remember me through acts of enduring charity. Remember me each time you hear the call to prayer, or each time you see the light piercing the night sky of Gaza.'' ''I entrust to you the resistance, the path we have walked and the principle in which we believed. We knew no other way for ourselves, and we found no meaning in life except in holding fast to it.'' ''I entrust to you my father, the love of my heart and my role model. I saw myself in him, and he saw himself in me. You who stood by me through the war and all it brought—I pray to God that we meet in the Gardens of Paradise, with you being pleased with me, O crown upon my head.'' ''I entrust to you my brother, my teacher, and my companion, Naji. O Naji… I have reached God before you were released from prison. Know that this was a destiny God has written, and that a deep longing for you fills me. I wished I could see you, hold you, and meet you again. But God’s promise is true, and our reunion in Paradise is nearer than you imagine.'' ''I entrust to you my mother. O mother, life without you is a void. You were the constant prayer, the wish that never died. I prayed that God would heal you and give you strength, and I dreamed of seeing you travel for treatment and return with a smile.'' ''I entrust to you my brothers and sisters. My goal was the pleasure of God, and then your own. I ask God to grant you joy and to make your lives as beautiful as your tender hearts, for which I always tried to be a source of happiness.'' ''I always used to say: Do not let the word fall, and do not let the image fall. The word is a sacred trust, and the image is a message. Carry them to the world, just as we did.'' ''Do not think my martyrdom is the end. It is, rather, the beginning of a long journey toward freedom. I am the bearer of a message I wanted to reach the world—a world with its eyes shut, a world silent in the face of truth. If you hear the news of my passing, do not weep for me. I have longed for this moment and asked God to grant it to me. Praise be to God, who chose me for what I loved.'' ''And to all who have wronged me in my life with insults, lies, or slander, I say to you: I am now departing to God as a martyr, God willing, and it is before God that all adversaries will be brought together.'' ''I entrust Palestine to you… and the Al-Aqsa Mosque. My greatest wish was to reach its courtyard, to pray within it, to touch its soil. If I could not reach it in this life, then I ask God to gather us all there in the Gardens of Eternity.'' ''O God, accept me among the martyrs. Forgive my past and future sins, and make my blood a light that illuminates the path to freedom for my people and my family. Forgive me for any shortcomings, and pray for mercy and forgiveness for me. I have held fast to the covenant; I have not changed, nor have I wavered.'' Peace be upon you, and God's mercy and blessings.'' ''Your brother, martyr by God's will,'' ''Saleh Amer Fouad AlJafarawi'' ''12/10/2025'' :Kalayan nyebat nami Allah, Nu Maha Welas tur Maha Asih. :Sadaya puji kagungan Allah, Pangéran sakumna alam, anu ngadawuh: "Ulah pisan nyangka yén jalma-jalma anu gugur di jalan Allah téh maot. Sabalikna, maranéhna gumelar haridup kalayan dipaparin rezeki ti Pangéranna." :Sim kuring Saleh. :Sim kuring ninggalkeun ieu wasiat panungtung sanés pikeun pileuleuyan, nanging mangrupikeun terusan tina galur anu ku sim kuring pilih kalayan kayakinan anu pinuh. :Allah anu janten saksi sim kuring yén sim kuring parantos ngaluarkeun sagala kakuatan sareng usaha sim kuring pikeun janten rorojong sareng sora kanggo dulur-dulur sim kuring. Sim kuring parantos hirup nandangan kapeurih dina sagala rupi jéntréna, ngarasakeun kasangsaraan sarta kaleungitan jalma-jalma anu dipikaasih teras-terasan. Nanging, sim kuring henteu pernah barang sakali asa-asa pikeun nepikeun bebeneran sakumaha ayana. Bebeneran ieu bakal nangtung minangka bubukti ngalawan unggal jalma anu oyag jeung angger ngabius, sarta minangka hiji kamulyaan pikeun unggal jalma anu masihan rojongan sarta dukungan pikeun jalma-jalma pangmulyana, pangdipiasihna, tur pangluhurna darajatna tina sakumna manusa—jalma-jalma di Gaza. :Upami sim kuring sahid, terang yén sim kuring téh henteu angkat. Sim kuring aya di Sorga ayeuna, sareng balad-balad sim kuring anu tos tipayun sateuacan sim kuring; sareng Anas, Ismail, sarta sadaya jiwa-jiwa anu dipikaasih anu satia kana jangjina jeung Pangéran. Sim kuring nyungkeun ka anjeun pikeun émut ka sim kuring dina du'a-du'a anjeun sarta pikeun neraskeun lalampahan saparantos sim kuring. Émut ka sim kuring liwat amal-amal kasaéan anu terus ngalir. Émut ka sim kuring unggal mangsa anjeun ngadangu panyaur netepan, atawa unggal mangsa anjeun ninggal cahaya nyorot ti langit peuting Gaza. :Sim kuring mercantenkeun ka anjeun panglawanan, jalur anu ku urang tos diliwatan sarta prinsip anu ku urang percaya. Urang terang teu aya jalan lain pikeun diri urang sadaya, sarta urang teu mendakan harti kahirupan iwal ti nyepeng pageuh kana éta. :Sim kuring mercantenkeun ka anjeun pun bapa, cinta asih manah sim kuring sarta teladan sim kuring. Sim kuring ningal diri sim kuring nyalira di anjeunna, sarta anjeunna ninggal diri anjeunna nyalira di sim kuring. Anjeun anu tatih sareng sim kuring ngaliwatan ieu perang sareng sadaya anu dicandakna—sim kuring ngadu'a ka Pangéran yén urang téh papendak di Taman Surga, sareng anjeun bungah sareng sim kuring, Oh, makuta na mastaka sim kuring. :Sim kuring mercantenkeun ka anjeun pun raka, guru sim kuring, sarta réncang sim kuring, Naji. Oh Naji... Sim kuring atos tepi ka Pangéran sateuacan anjeun dibébaskeun ti penjara. Terang yén ieu téh takdir anu atos diguratkeun ku Pangéran, sareng kasono anu jero pikeun anjeun téh minuhan sim kuring. Sim kuring mikaharep tiasa ningal anjeun, nangkeup anjeun, sarta papendak sareng anjeun deui. Tapi jangji Pangéran mah leres, sareng pakumpulan urang deui di Sorga téh leuwih caket dibanding anu ku anjeun bayangkeun. :Sim kuring mercantenkeun ka anjeun pun biang. Oh ambu, hirup tanpa anjeun téh mangrupakeun kakosongan. Anjeun téh du'a anu salawasna, harepan anu henteu pernah pareum. Sim kuring ngadu'a yén Allah bakal ngadamangkeun anjeun sareng masihan kakiatan, sarta sim kuring ngimpén ninggal anjeun tiasa angkat pikeun pangobatan sarta uih sareng kabungah. :Sim kuring mercantenkeun ka anjeun dulur-dulur sadérék sim kuring. Tujuan sim kuring téh ridho Gusti Allah, teras ridho anjeun nyalira. Sim kuring nyungkeun ka Allah pikeun masihan anjeun sadaya kabungahan sarta pikeun ngajadikeun hirup anjeun sadaya saéndah manah anjeun anu pinuh ku welas asih, anu ku sim kuring teras diusahakeun pikeun janten sumber kabungah anjeun sadaya. :Sim kuring kungsi teras nyarios: Ulah ngantep kakaca éta murag, sarta ulah ngantep gambar éta murag. Kekecap téh kayakinan anu sakral, sarta gambar téh hiji pesen. Bawa éta ka dunya, siga kumaha urang téh ngalakukeunna. :Ulah mikir kasahidan sim kuring téh ahirna. Éta téh, justru, awal ti palampahan panjang anu dituju ka kabébasan. Sim kuring anu mawa hiji pesen anu ku sim kuring dipikahayang pikeun nepi ka dunya—hiji dunya anu socana nutup, hiji dunya anu ngabisu dipayuneun bebener. Upami anjeun ngadangu warta tilar dunyana sim kuring, ulah nyeungceurikan sim kuring. Sim kuring tos ngantosan mangsa ieu sareng nyungkeun ka Gusti Allah pikeun masihan éta ka sim kuring. Sagala puji ka Gusti Allah, anu milih sim kuring pikeun anu ku sim kuring pikacinta. :Sarta ka sakumna jalmi anu atos nganyenyeri dina hirup sim kuring, boh ku panghina, kabohongan, atawa pitnah, sim kuring nyarios ieu ka anjeun: Sim kuring ayeuna miang ka Gusti Allah salaku sahid, pangersa Pangéran, sarta hareupeun Gusti Allah sakabéh musuh bakal dikumpulkeun. :Sim kuring mercantenkeun Paléstina ka anjeun... sareng Mesjid Al-Aqsa. Harepan kuring anu pangageungna téh pikeun tiasa tepi ka buruan jerona, pikeun ngadu'a di lebetna, pikeun nyagap taneuhna. Upami sim kuring teu tiasa tepi ka dinya dina kahirupan ieu, teras sim kuring nyungkeun ka Gusti Allah pikeun ngempelkeun urang sadaya di ditu di Taman Kalanggengan. :Ya Allah, mugi nampi sim kuring di antawis para syuhada. Mugi ngahapunten saniskara dosa sim kuring, boh anu parantos kalangung sareng anu bakal dongkap. Mugi ngahapunten sagala kakirangan sim kuring, sarta sim kuring ngadu'a pikeun rahmat sareng ampunan kanggo sim kuring. Sim kuring parantos nyepeng janji sim kuring; sim kuring henteu robah, henteu ogé oyag. Kasalametan pikeun anjeun sadaya, sarta rahmat sareng berkah Gusti Allah. Dulur anjeun, syuhada kersaning Allah, Saleh Amer Fouad AlJafarawi 12/10/2025 == Tutumbu luar == [https://x.com/S_Aljafarawi/status/1977525415141916842 Amanat panungtung Saleh Al-Jafarawi sateuacan anjeunna tilar dunya.] [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] [[Category: Inohong]] [[Category: Inohong Paléstina]] 91i9yak3rb81v1qbtwfgbegvgihj90n 0 5997 16620 16586 2026-05-17T09:23:48Z Hasnanf 1958 16620 wikitext text/x-wiki '''Mohammed el-Kurd''' nyaéta penulis jeung penyair asal Palestina anu kasohor ku karyana ngagambarkeun kahirupan urang Paléstina dina kaayaan okupasi Israél di Yérusalém wétan, Tepi Barat. Anjeunna dipikawanoh ogé kalayan peranna jadi salah sahiji pangwangun gerakan #SaveSheikhJarrah. Dina taun 2025, anjeunna ngarilis buku ''[[Perfect Victims and the Politics of Appeal]]''. == Cutatan == * ''Our massacres are only interrupted by commercial breaks. Judges legalize them. Correspondents kill us with passive voice. If we are lucky, diplomats say that our death concerns them, but they never mention the culprit, let alone condemn the culprit. Politicians, inert, inept, or complicit, fund our demise, then feign sympathy, if any. Academics stand idle. That is, until the dust settles, then they will write books about what should have been.'' ** Pembantéyan urang téh ngan kaganggu ku eureun iklan komérsi. Hakim-hakim téh ngalégalkeun éta. Koréspondén-korésponden ngabunuh urang nganggo sora pasip. Upami urang téh milik, diplomat-diplomat nyarios yén maotna urang téh ngahariwangkeun anjeunna, tapi anjeunna teu pernah nyebutkeun saha nu jahatna, komo deui ngutuk penjahatna. Politisi, mangkrep, teu becus, atawa kalibet, ngadanaan maotna urang, teras api-api simpati, lamun aya. Akademisi-akademisi saukur cicing wé. Éta, nepi ka kaayannana rineh deui, teras anjeunna bakal nulis buku-buku ngeunaan anu kuduna kumaha. * ''And do their words matter when their policies speak for themselves?'' ** Teras ari kekecap anjeunna téh naha aya hartina nalika kawijakan anjeunna nyarios pikeun anjeunna sorangan? * ''There is a thin line between representation, particularly liberal reductions around representation, and the reproduction of the Palestinian as a fetish or a token, thus as a dehumanized subject once more.'' ** Aya garis ipis antara réprésentasi, utamana réduksi liberal sakulibet réprésentasi, sareng réproduksi urang-urang Paléstina minangka fétis atawa simbol, anu ku kituna jadi subyék anu henteu manusiwai sakali deui. * ''Western knowledge producers or those using Western voices in their knowledge production should ask themselves a few questions: Where do Palestinians fit in this work? Do they have any agency, or are they a tool to drive the point across? Are my filmmaking practices extractive? How can I practice responsible authorship? Have I instilled in my project enough cues to incentivize my audience to consume it critically, or am I patting myself on the back? Am I doing the challenging chore of speaking to my bigoted, acrimonious community, accosting my Zionist aunt at the dinner table, or am I preaching—pandering, really—to the choir? Did I really have to go and “see for myself,” or did I ignore a century of Palestinian literature? Am I cognizant of how that refusal to engage local and grassroots knowledge production continues to undermine its value on the world stage, undermining also the value and authority of Palestinian narration? Do I have a class analysis in my work? Do I acknowledge that I get awards for saying similar things to what the student movement has been criminalized, suspended, and censured for saying? Do I name my institutional backing? What are the material and monetary conditions of those whose voices I amplify? Am I only referencing dead guys? What does my works cited page look like?'' ** Pancipta pangaweruh Barat atawa anu ngagunakeun sora-sora Barat dina panciptaan pangaweruhna kudu nanya ka dirina sorangan sababaraha patanyaan: Dimana urang-urang Paléstina téh cekap dina karya ieu? Naha ari anjeunna gaduh daya laku, atawa anjeunna téh ngan alat pikeun nyetirkeun éta poin? Naha ari prakték perpileman sim kuring téh ékstraktip? Kumaha bisa sim kuring latihan kapanulisan anu tanggungjawab? Naha ari sim kuring téh parantos masihan patunjuk dina karya-karya sim kuring pikeun audiéns sim kuring téh narima éta sacara kritis, atawa sim kuring ngan mupuas manéh? Naha ari sim kuring téh nuju ngalakonan tugas anu nangtang pikeun nyarios ka komuntas sim kuring anu panatik tur pinuh ku kangéwa, ngageunggeureuhkeun bibi sim kuring anu Zionis dina méja makan, atawa sim kuring ngan hotbah—atawa leuwih benerna, milari pameunteun—ti jalma-jalma nu tos sapaham? Naha ari sim kuring téh kudu indit jeung "ningali jang diri kuring sorangan," atawa sim kuring téh teu ngawaro ratusan taun literatur Paléstina? Naha ari sim kuring téh sadar kumaha panolakan pikeun ngalibetkeun lokal jeung akar rumput dina panciptaan pangaweruh téh tuluy ngarusak niléyna di panggung dunya, sarta ngarusak niléy ogé otoritas narasi Paléstina? Naha ari sim kuring téh miboga analisis kelas dina karya sim kuring? Naha ari sim kuring téh apal yén sim kuring meunang pangajén pikeun nyarios hal nu sarua jeung gerakan mahasiswa anu kungsi dikriminalisasi, diskors, jeung dikecam pikeun nyarios? Naha ari sim kuring téh nyebutkeun institusi pangrojong sim kuring? Kumaha kondisi matéri jeung monétér ti pihak anu sorana ku sim kuring digaungkeun? Naha ari sim kuring ngan ngarujuk ka jalma-jalma nu tos pupus? Kumaha katingalina kaca sitasi sim kuring téh? == Tutumbu luar == [https://www.goodreads.com/work/quotes/219958007-perfect-victims-and-the-politics-of-appeal Cutatan tina buku ''Perfect Victims and the Politics of Appeal'' karya Mohammed el-Kurd]. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] [[Category: Inohong]] [[Category: Inohong Paléstina]] 4pcfnr04wjdst69ks2syyywzi7vjoi6 0 6000 16597 16554 2026-05-16T12:01:59Z Hasnanf 1958 /* Cutatan */ 16597 wikitext text/x-wiki '''Jafar Panahi''' (basa Pérsia: جعفر پناهی) nyaéta sutradara sakaligus aktor asal Iran. Anjeunna kasohor di dunya internasional ku kontribusina nu signifikan pasca Révolusi Sinéma Iran 1979 sarta diasosiasikeun jeung aliran Iranian New Wave. Karya-karya anjeunna, ngakar dina néoréalisme sarta musatkeun kahirupan wanoja, murangkalih, sarta kaum-kaum marjinal, ngawangun gambaran kritis ti kaayaan sosial, politis, sarta struktur anu pakait jeung génder ti masarakat kontemporér Iran. Karya-karya anjeunna anu kasohor, nyaéta ''[[The White Balloon]], [[Taxi]]'', ''[[The Circle]]'', ''[[The Bear]]'', sarta karya anu panganyarna anu dirilis taun 2025, ''[[It Was Just an Accident]]''. == Cutatan == * ''I'm really optimistic about the future of Iranian cinema because of all these young and talented filmmakers...What makes me hopeful is this pool of young filmmakers can use all-digital cameras to make their own movies. There was a time when the government had a monopoly on all the filmmaking equipment. But right now you don't have to go to the government to make your films.'' ** Sim kuring optimis pisan ngeunaan mangsa hareup sinéma Iran ku lantaran sadaya sinéas ngora sareng berbakat ieu... Anu ngajieun sim kuring pinuh ku harepan nyaéta lingkup sinéas-sinéas ngora ieu tiasa ngagunakeun kaméra anu sakabéhna digital pikeun ngadamel pilemna sorangan. Aya mangsana nalika pamaréntah téh ngajieun monopoli dina paralatan-paralatan paragi ngajieun pilem. Nanging ayeuna, anjeun teu kedah indit ka pamaréntah pikeun ngadamel pilem anjeun nyalira. * ''I want you to put yourself in my shoes as a filmmaker who can't do anything else but make films, and doesn't want to do anything else. How much time do I have left? Do I have twenty years left to live? I cannot stay idle. I know this is what they want. They let me out of a small prison and released me to a much larger one. When I was in a small prison I knew there was nothing I could do there. Every movement was being watched. ..Now that I am so-called 'free', but in reality in a larger prison, I have to do something and cannot stay idle and let my life be wasted.'' ** Sim kuring hoyong anjeun nempatkeun diri anjeun sorangan minangka hiji sinéas anu teu tiasa ngalakukeun nanaon iwal ti ngadamel pilem, sarta teu hoyong ngalakukeun nanaon deui. Sabaraha seueur sésa mangsa anu sim kuring gaduh? Naha ari sim kuring gaduh dua puluh taun deui pikeun hirup? Sim kuring teu tiasa cicing waé. Sim kuring terang éta téh anu ku aranjeunna pikahayang. Anjeunna ngidinan kuring kaluar ti penjara leutik teras ngabébaskeun kuring ka hiji nu leuwih badag. Nalika sim kuring dina hiji penjara leutik, sim kuring terang teu aya deui anu ku sim kuring bisa lakukeun di ditu. Unggal pergerakan sim kuring téh dilalajoanan... Ayeuna téh sim kuring kasebut 'bébas', nanging dina kanyataanna mah aya di penjarah nu leuwih gedé, sim kuring kudu ngalakukeun hiji hal sarta teu tiasa teras cicing sareng ngantep hirup sim kuring dilelebar. * ''My films are always inspired by the environment in which I find myself. I hadn't gone to prison previously; my environment was just Iranian society. What I could see, observe, inspired my films - the daily life of perfectly normal people. But once you've been sent to prison, inevitably you're influenced and impacted by what you experience there and what you see. I don't know whether I'd refer to this as violence, however. Non-violence also can be found in violence. Throughout the film, one of the recurring themes is to avoid violence and this is directly mentioned by several of the characters. In this film, we show different groups, different ways of reacting to what is happening, just like any society today. In Iranian society currently, you have all sorts of different groups, very radical people and very simple people. Perhaps you read violence into this but everyone can interpret things in their own way. People perceive the film no doubt differently and will interpret things differently as a result.'' ** Pilem-pilem sim kuring téh teu weléh diinspirasi ku lingkungan nu mana sim kuring téh mendakan diri sim kuring aya di dinya. Sim kuring teu acan lebet ka penjara sateuacanna; lingkungan sim kuring téh ngan masarakat Iran. Naon anu ku sim kuring tiasa tingal, tengetan, nginspirasi pilem-pilem sim kuring - kahirupan sapopoé ti jalma-jalma normal. Nanging sakali anjeun dikirim ka penjara, moal bisa dihindarkeun yén anjeun téh kapangaruhan sarta kadampak ku naon anu ku anjeun alaman di dinya sarta ku naon anu anjeun tingal. Sim kuring teu terang boh sim kuring téh bakal ngarujuk ieu minangka katelengesan, kumaha ogé. Hal anu sanés katelengesan ogé tiasa dipendakan di jero katelengesan. Salila pilemna, hiji téma anu teras muncul téh pikeun ngahindar ti katelengesan sareng éta téh disebutkeun sacara langsung ku sababaraha tokohna. Dina pilem ieu, urang nunjukkeun sababaraha kelompok, sababaraha cara pikeun nyikepan tu naon keur kajadian, siga kumaha masarakat ayeuna. Di masarakat Iran ayeuna, anjeun tiasa miboga sagala jenis kelompok anu béda, anu radikal pisan sarta anu sederhana pisan. Meureun anjeun téh maca katelengesan dina ieu, nanging saha waé tiasa ngahartikeun dina carana sorangan. Jalma téh nganiléy pilem ieu henteu bisa diragukeun béda-béda sarta bakal ngahartikeunna béda-béda minangka hasilna. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] i833je8jfzul05d4ogclcn4ji7n1ngn 16618 16597 2026-05-17T09:23:27Z Hasnanf 1958 16618 wikitext text/x-wiki '''Jafar Panahi''' (basa Pérsia: جعفر پناهی) nyaéta sutradara sakaligus aktor asal Iran. Anjeunna kasohor di dunya internasional ku kontribusina nu signifikan pasca Révolusi Sinéma Iran 1979 sarta diasosiasikeun jeung aliran Iranian New Wave. Karya-karya anjeunna, ngakar dina néoréalisme sarta musatkeun kahirupan wanoja, murangkalih, sarta kaum-kaum marjinal, ngawangun gambaran kritis ti kaayaan sosial, politis, sarta struktur anu pakait jeung génder ti masarakat kontemporér Iran. Karya-karya anjeunna anu kasohor, nyaéta ''[[The White Balloon]], [[Taxi]]'', ''[[The Circle]]'', ''[[The Bear]]'', sarta karya anu panganyarna anu dirilis taun 2025, ''[[It Was Just an Accident]]''. == Cutatan == * ''I'm really optimistic about the future of Iranian cinema because of all these young and talented filmmakers...What makes me hopeful is this pool of young filmmakers can use all-digital cameras to make their own movies. There was a time when the government had a monopoly on all the filmmaking equipment. But right now you don't have to go to the government to make your films.'' ** Sim kuring optimis pisan ngeunaan mangsa hareup sinéma Iran ku lantaran sadaya sinéas ngora sareng berbakat ieu... Anu ngajieun sim kuring pinuh ku harepan nyaéta lingkup sinéas-sinéas ngora ieu tiasa ngagunakeun kaméra anu sakabéhna digital pikeun ngadamel pilemna sorangan. Aya mangsana nalika pamaréntah téh ngajieun monopoli dina paralatan-paralatan paragi ngajieun pilem. Nanging ayeuna, anjeun teu kedah indit ka pamaréntah pikeun ngadamel pilem anjeun nyalira. * ''I want you to put yourself in my shoes as a filmmaker who can't do anything else but make films, and doesn't want to do anything else. How much time do I have left? Do I have twenty years left to live? I cannot stay idle. I know this is what they want. They let me out of a small prison and released me to a much larger one. When I was in a small prison I knew there was nothing I could do there. Every movement was being watched. ..Now that I am so-called 'free', but in reality in a larger prison, I have to do something and cannot stay idle and let my life be wasted.'' ** Sim kuring hoyong anjeun nempatkeun diri anjeun sorangan minangka hiji sinéas anu teu tiasa ngalakukeun nanaon iwal ti ngadamel pilem, sarta teu hoyong ngalakukeun nanaon deui. Sabaraha seueur sésa mangsa anu sim kuring gaduh? Naha ari sim kuring gaduh dua puluh taun deui pikeun hirup? Sim kuring teu tiasa cicing waé. Sim kuring terang éta téh anu ku aranjeunna pikahayang. Anjeunna ngidinan kuring kaluar ti penjara leutik teras ngabébaskeun kuring ka hiji nu leuwih badag. Nalika sim kuring dina hiji penjara leutik, sim kuring terang teu aya deui anu ku sim kuring bisa lakukeun di ditu. Unggal pergerakan sim kuring téh dilalajoanan... Ayeuna téh sim kuring kasebut 'bébas', nanging dina kanyataanna mah aya di penjarah nu leuwih gedé, sim kuring kudu ngalakukeun hiji hal sarta teu tiasa teras cicing sareng ngantep hirup sim kuring dilelebar. * ''My films are always inspired by the environment in which I find myself. I hadn't gone to prison previously; my environment was just Iranian society. What I could see, observe, inspired my films - the daily life of perfectly normal people. But once you've been sent to prison, inevitably you're influenced and impacted by what you experience there and what you see. I don't know whether I'd refer to this as violence, however. Non-violence also can be found in violence. Throughout the film, one of the recurring themes is to avoid violence and this is directly mentioned by several of the characters. In this film, we show different groups, different ways of reacting to what is happening, just like any society today. In Iranian society currently, you have all sorts of different groups, very radical people and very simple people. Perhaps you read violence into this but everyone can interpret things in their own way. People perceive the film no doubt differently and will interpret things differently as a result.'' ** Pilem-pilem sim kuring téh teu weléh diinspirasi ku lingkungan nu mana sim kuring téh mendakan diri sim kuring aya di dinya. Sim kuring teu acan lebet ka penjara sateuacanna; lingkungan sim kuring téh ngan masarakat Iran. Naon anu ku sim kuring tiasa tingal, tengetan, nginspirasi pilem-pilem sim kuring - kahirupan sapopoé ti jalma-jalma normal. Nanging sakali anjeun dikirim ka penjara, moal bisa dihindarkeun yén anjeun téh kapangaruhan sarta kadampak ku naon anu ku anjeun alaman di dinya sarta ku naon anu anjeun tingal. Sim kuring teu terang boh sim kuring téh bakal ngarujuk ieu minangka katelengesan, kumaha ogé. Hal anu sanés katelengesan ogé tiasa dipendakan di jero katelengesan. Salila pilemna, hiji téma anu teras muncul téh pikeun ngahindar ti katelengesan sareng éta téh disebutkeun sacara langsung ku sababaraha tokohna. Dina pilem ieu, urang nunjukkeun sababaraha kelompok, sababaraha cara pikeun nyikepan tu naon keur kajadian, siga kumaha masarakat ayeuna. Di masarakat Iran ayeuna, anjeun tiasa miboga sagala jenis kelompok anu béda, anu radikal pisan sarta anu sederhana pisan. Meureun anjeun téh maca katelengesan dina ieu, nanging saha waé tiasa ngahartikeun dina carana sorangan. Jalma téh nganiléy pilem ieu henteu bisa diragukeun béda-béda sarta bakal ngahartikeunna béda-béda minangka hasilna. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] [[Category: Inohong]] [[Category: Inohong Iran]] fsi3613a8hfvl9c301sp81ah3ax00oz 0 6015 16600 16233 2026-05-16T12:50:13Z Hasnanf 1958 16600 wikitext text/x-wiki Ayatollah '''Ali Hosseini Khamenei''' nyaéta ulama Syiah Iran anu jadi pamingpin agung Iran ti taun 1989 nepi 2026. Saacanna, anjeunna kungsi jadi présidén Iran ti taun 1981 nepi ka 1989. Ayatollah Khamenei tilar dunya dina serangan Israél-Amérika Serikat taun 2026, sanggeus saacanna berhasil salamet tina serangan sarupa Juni 2025. == Cutatan == * ''"If people get into the habit of using their free time for reading books, our society will greatly advance and the country's culture will progress."'' ** Upami jalma-jalma téh ngabiasakeun mangsa luangna pikeun maca buku, masarakat urang téh bakal kacida nyongcolangna sarta budaya ieu nagara téh bakal maju. * ''"Freedom is the gift of God and the Revolution. Freedom belongs to the people and is their fundamental need."'' ** Kabébasan téh mangrupakeun berkah ti Pangéran, kitu ogé Révolusi. Kabébasan téh milik jalma-jalma sakaligus kabutuhan dumasarna. * ''"Being culturally dominated is even more perilous than being economically and politically dominated. Why? The reason is that when a nation culturally dominates another nation, the national identity of the nation that is held under domination is lost. … Cultural interchange is a good thing. Cultural invasion is something horrific. Cultural interchange usually happens when a nation is prosperous. Cultural invasion takes place when a nation is feeble."'' ** Ditindas sacara budaya téh tétéla leuwih picilakaeun dibanding ditindas sacara ékonomi sarta ditindas sacara politik. Naha? Alesanna téh nyaéta nalika hiji bangsa nindes bangsa séjénna sacara budaya, idéntitas bangsa éta téh aya handapeun éta tindesan téh leungit... Patukeuran kabudayaan téh hal anu hadé. Inpasi kabudayaan téh hiji hal anu matak ngerik batin. Patukeuran kabudayaan téh biasana kajadian nalika hiji bangsa téh makmur. Inpasi kabudayaan téh kajadian nalika hiji bangsa téh lemah. * ''"First, you should grow up. Then study hard and become a scientist and be useful to Islam. Live a healthy life for 80 or 90 years, and then become a martyr."'' ** Kawitna mah hidep téh kedah tumuwuh. Teras diajar sing getol sareng janten ahli élmu sarta mangpaat pikeun agama Islam. Hirup anu séhat dugi ka 80 atawa 90 taun, sareng teras anjeun tiasa janten syuhada. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] tet70xzbmeiek5z0ucfze6fd92u8ubf 16601 16600 2026-05-16T12:50:59Z Hasnanf 1958 16601 wikitext text/x-wiki [[Gambar:Ayatollah Ali Khamenei in 2016.jpg|jmpl|Ayatollah Ali Khamenei, 2016]] Ayatollah '''Ali Hosseini Khamenei''' nyaéta ulama Syiah Iran anu jadi pamingpin agung Iran ti taun 1989 nepi 2026. Saacanna, anjeunna kungsi jadi présidén Iran ti taun 1981 nepi ka 1989. Ayatollah Khamenei tilar dunya dina serangan Israél-Amérika Serikat taun 2026, sanggeus saacanna berhasil salamet tina serangan sarupa Juni 2025. == Cutatan == * ''"If people get into the habit of using their free time for reading books, our society will greatly advance and the country's culture will progress."'' ** Upami jalma-jalma téh ngabiasakeun mangsa luangna pikeun maca buku, masarakat urang téh bakal kacida nyongcolangna sarta budaya ieu nagara téh bakal maju. * ''"Freedom is the gift of God and the Revolution. Freedom belongs to the people and is their fundamental need."'' ** Kabébasan téh mangrupakeun berkah ti Pangéran, kitu ogé Révolusi. Kabébasan téh milik jalma-jalma sakaligus kabutuhan dumasarna. * ''"Being culturally dominated is even more perilous than being economically and politically dominated. Why? The reason is that when a nation culturally dominates another nation, the national identity of the nation that is held under domination is lost. … Cultural interchange is a good thing. Cultural invasion is something horrific. Cultural interchange usually happens when a nation is prosperous. Cultural invasion takes place when a nation is feeble."'' ** Ditindas sacara budaya téh tétéla leuwih picilakaeun dibanding ditindas sacara ékonomi sarta ditindas sacara politik. Naha? Alesanna téh nyaéta nalika hiji bangsa nindes bangsa séjénna sacara budaya, idéntitas bangsa éta téh aya handapeun éta tindesan téh leungit... Patukeuran kabudayaan téh hal anu hadé. Inpasi kabudayaan téh hiji hal anu matak ngerik batin. Patukeuran kabudayaan téh biasana kajadian nalika hiji bangsa téh makmur. Inpasi kabudayaan téh kajadian nalika hiji bangsa téh lemah. * ''"First, you should grow up. Then study hard and become a scientist and be useful to Islam. Live a healthy life for 80 or 90 years, and then become a martyr."'' ** Kawitna mah hidep téh kedah tumuwuh. Teras diajar sing getol sareng janten ahli élmu sarta mangpaat pikeun agama Islam. Hirup anu séhat dugi ka 80 atawa 90 taun, sareng teras anjeun tiasa janten syuhada. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] 3596zcgz159zfv0bipkmrx6ifg0nsh9 16616 16601 2026-05-17T09:23:08Z Hasnanf 1958 16616 wikitext text/x-wiki [[Gambar:Ayatollah Ali Khamenei in 2016.jpg|jmpl|Ayatollah Ali Khamenei, 2016]] Ayatollah '''Ali Hosseini Khamenei''' nyaéta ulama Syiah Iran anu jadi pamingpin agung Iran ti taun 1989 nepi 2026. Saacanna, anjeunna kungsi jadi présidén Iran ti taun 1981 nepi ka 1989. Ayatollah Khamenei tilar dunya dina serangan Israél-Amérika Serikat taun 2026, sanggeus saacanna berhasil salamet tina serangan sarupa Juni 2025. == Cutatan == * ''"If people get into the habit of using their free time for reading books, our society will greatly advance and the country's culture will progress."'' ** Upami jalma-jalma téh ngabiasakeun mangsa luangna pikeun maca buku, masarakat urang téh bakal kacida nyongcolangna sarta budaya ieu nagara téh bakal maju. * ''"Freedom is the gift of God and the Revolution. Freedom belongs to the people and is their fundamental need."'' ** Kabébasan téh mangrupakeun berkah ti Pangéran, kitu ogé Révolusi. Kabébasan téh milik jalma-jalma sakaligus kabutuhan dumasarna. * ''"Being culturally dominated is even more perilous than being economically and politically dominated. Why? The reason is that when a nation culturally dominates another nation, the national identity of the nation that is held under domination is lost. … Cultural interchange is a good thing. Cultural invasion is something horrific. Cultural interchange usually happens when a nation is prosperous. Cultural invasion takes place when a nation is feeble."'' ** Ditindas sacara budaya téh tétéla leuwih picilakaeun dibanding ditindas sacara ékonomi sarta ditindas sacara politik. Naha? Alesanna téh nyaéta nalika hiji bangsa nindes bangsa séjénna sacara budaya, idéntitas bangsa éta téh aya handapeun éta tindesan téh leungit... Patukeuran kabudayaan téh hal anu hadé. Inpasi kabudayaan téh hiji hal anu matak ngerik batin. Patukeuran kabudayaan téh biasana kajadian nalika hiji bangsa téh makmur. Inpasi kabudayaan téh kajadian nalika hiji bangsa téh lemah. * ''"First, you should grow up. Then study hard and become a scientist and be useful to Islam. Live a healthy life for 80 or 90 years, and then become a martyr."'' ** Kawitna mah hidep téh kedah tumuwuh. Teras diajar sing getol sareng janten ahli élmu sarta mangpaat pikeun agama Islam. Hirup anu séhat dugi ka 80 atawa 90 taun, sareng teras anjeun tiasa janten syuhada. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] [[Category: Inohong]] [[Category: Inohong Iran]] 9dd891dgnuozkur6opjxzfwddm02096 0 6019 16609 16224 2026-05-16T13:40:41Z Hasnanf 1958 16609 wikitext text/x-wiki '''Gilles Deleuze''' nyaéta filsuf Perancis anu loba nulis ngeunaan pilsapat, sastra, pilem, jeung seni murni. Karyana nu paling kasohor, nyaéta dua volume ''Capitalism and Schizophrenia: Anti-Oedipus'' (1972) jeung ''A Thousand Plateaus'' (1980), anu duanana ditulis babarengan jeung psikoanalis Félix Guattari. Taun 2025 mangrupakeun taun paringetan 100 taun '''Gilles Deleuze''', anu tilar dunya di taun 1995, nalika yuswana 70 taun. == Cutatan == * ''"In order for music to free itself, it will have to pass over to the other side — there where territories tremble, where the structures collapse, where the ethoses get mixed up, where a powerful song of the earth is unleashed, the great ritornelles that transmutes all the airs it carries away and makes return."'' ** Pikeun musik bisa ngabébaskeun dirina sorangan, éta téh kudu bisa meuntas ka sisi sabeulah na — aya téritori anu oyag, di mana struktur-struktur téh runtuh, di mana étos-étos téh ngahiji, di mana hiji lagu anu kuat pisan di dunya ieu téh dibébaskeun, ritornelles agung anu ngarobah sakabéh hawa anu dibawana sarta ngabalikeunnana. * ''"There's no need to fear or hope, but only to look for new weapons."'' ** Teu kedah sieun atawa miharep, tapi kedah milari senjata-senjata anyar. * ''"Evaluations, in essence, are… ways of being, modes of existence of those who judge and evaluate."'' ** Évaluasi, hakékatna, nyaéta... cara pikeun ngajadi, bentuk ti kahirupan ti manéhna anu ngahakiman jeung ngaévaluasi. * ''“Writing has nothing to do with meaning. It has to do with landsurveying and cartography, including the mapping of countries yet to come.”'' ** Nulis téh teu aya pakaitna jeung hartos. Éta téh kedah aya pakaitna jeung surpéi taneuh jeung kartograpi, kaasup metakeun nagara-nagara anu bakal aya. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] qa16jmb707q2dvf7v1zw4obhcuh0ypz 16610 16609 2026-05-16T13:43:55Z Hasnanf 1958 16610 wikitext text/x-wiki '''Gilles Deleuze''' nyaéta filsuf Perancis anu loba nulis ngeunaan pilsapat, sastra, pilem, jeung seni murni. Karyana nu paling kasohor, nyaéta dua volume ''Capitalism and Schizophrenia: Anti-Oedipus'' (1972) jeung ''A Thousand Plateaus'' (1980), anu duanana ditulis babarengan jeung psikoanalis Félix Guattari. Taun 2025 mangrupakeun taun paringetan 100 taun '''Gilles Deleuze''', anu tilar dunya di taun 1995, nalika yuswana 70 taun. == Cutatan == * ''"In order for music to free itself, it will have to pass over to the other side — there where territories tremble, where the structures collapse, where the ethoses get mixed up, where a powerful song of the earth is unleashed, the great ritornelles that transmutes all the airs it carries away and makes return."'' ** Pikeun musik bisa ngabébaskeun dirina sorangan, éta téh kudu bisa meuntas ka sisi sabeulah na — aya téritori anu oyag, di mana struktur-struktur téh runtuh, di mana étos-étos téh ngahiji, di mana hiji lagu anu kuat pisan di dunya ieu téh dibébaskeun, ritornelles agung anu ngarobah sakabéh hawa anu dibawana sarta ngabalikeunnana. * ''"There's no need to fear or hope, but only to look for new weapons."'' ** Teu kedah sieun atawa miharep, tapi kedah milari senjata-senjata anyar. * ''"Evaluations, in essence, are… ways of being, modes of existence of those who judge and evaluate."'' ** Évaluasi, hakékatna, nyaéta... cara pikeun ngajadi, bentuk ti kahirupan ti manéhna anu ngahakiman jeung ngaévaluasi. * ''“Writing has nothing to do with meaning. It has to do with landsurveying and cartography, including the mapping of countries yet to come.”'' ** Nulis téh teu aya pakaitna jeung hartos. Éta téh kedah aya pakaitna jeung surpéi taneuh jeung kartograpi, kaasup metakeun nagara-nagara anu bakal aya. *''"A leftist government doesn't exist because being on the left has nothing to do with governments."'' **Pamaréntah kiri téh henteu aya kusabab janten aya di sayap kiri téh teu aya pakaitna jeung pamaréntahan. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] 4mngoix84jnc8frbkdqn6qa7kwygotv 0 6020 16605 16226 2026-05-16T13:20:36Z Hasnanf 1958 /* Cutatan */ 16605 wikitext text/x-wiki '''Begum Khaleda Zia''' nyaéta perdana menteri Bangladésh taun 1991 nepi 1996, ogé ti 2001 nepi 2006. Anjeunna mangrupakeun perdana menteri wanoja Bangladésh mimiti, sakaligus perdana menteri wanoja kadua di nagara Muslim, sanggeus Benazir Bhutto. Anjeunna dipaparin pangajén ku Senat Negara Bagéan New Jersey salaku Pajoang Démokrasi di taun 2011, anu kasebut munggaran dipaparin ka pamingpin nagara di luar Amérika Serikat, hususna ti Asia Kidul. Khaleda Zia tilar dunya di taun 2025, dina yuswa 79 taun. == Cutatan == * ''"In this life without relatives, my countrymen are my relatives. Allah is my only hope. No matter where I am, as long as I live, I will not leave my countrymen."'' ** Dina kahirupan ieu tanpa dulur, balad-balad sabangsa kuring téh dulur-dulur kuring. Allah hiji-hijina harepan sim kuring. Di mana kuring aya, salila sim kuring hirup, sim kuring moal ninggalkeun dulur-dulur sabangsa kuring. * ''"It is impossible to practice parliamentary politics without having patience, decency, politeness and courtesy."'' ** Éta téh teu mungkin pikeun ngalarapkeun politik parlemén tanpa miboga kasabaran, kalakuan saé, kasopanan, jeung kasederhanaan. * ''"I have no other home but this country. My life and death are tied to this land."'' ** Sim kuring henteu miboga imah iwal ti nagara ieu. Hirup jeung pati kuring téh patali jeung taneuh ieu. * ''“The nation voted us to power to see unity and communal harmony, not for any division or communality.”'' ** Bangsa ieu milih urang pikeun kakuatan pikeun ningali harmoni babarengan anu ngahiji, lain pikeun babagéan atawa komunalitas. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] t56dabkzb9v8gtubaj0vllu1gj8i19w 16606 16605 2026-05-16T13:22:59Z Hasnanf 1958 16606 wikitext text/x-wiki '''Begum Khaleda Zia''' nyaéta perdana menteri Bangladésh taun 1991 nepi 1996, ogé ti 2001 nepi 2006. Anjeunna mangrupakeun perdana menteri wanoja Bangladésh mimiti, sakaligus perdana menteri wanoja kadua di nagara Muslim, sanggeus Benazir Bhutto. Anjeunna dipaparin pangajén ku Senat Negara Bagéan New Jersey salaku Pajoang Démokrasi di taun 2011, anu kasebut munggaran dipaparin ka pamingpin nagara di luar Amérika Serikat, hususna ti Asia Kidul. Khaleda Zia tilar dunya di taun 2025, dina yuswa 79 taun. == Cutatan == * ''"In this life without relatives, my countrymen are my relatives. Allah is my only hope. No matter where I am, as long as I live, I will not leave my countrymen."'' ** Dina kahirupan ieu tanpa dulur, balad-balad sabangsa kuring téh dulur-dulur kuring. Allah hiji-hijina harepan sim kuring. Di mana kuring aya, salila sim kuring hirup, sim kuring moal ninggalkeun dulur-dulur sabangsa kuring. * ''"It is impossible to practice parliamentary politics without having patience, decency, politeness and courtesy."'' ** Éta téh teu mungkin pikeun ngalarapkeun politik parlemén tanpa miboga kasabaran, kalakuan saé, kasopanan, jeung kasederhanaan. * ''"I have no other home but this country. My life and death are tied to this land."'' ** Sim kuring henteu miboga imah iwal ti nagara ieu. Hirup jeung pati kuring téh patali jeung taneuh ieu. * ''“The nation voted us to power to see unity and communal harmony, not for any division or communality.”'' ** Bangsa ieu milih urang pikeun kakuatan pikeun ningali harmoni babarengan anu ngahiji, lain pikeun babagéan atawa komunalitas. *''"The main challenge to further development of our relations is the lack of confidence and trust among our people in our relationship."'' **Tantangan utami pikeun pangembangan leuwih jauh ti hubungan [India-Bangladesh] téh kirangna rasa percaya diri jeung kapercayaan antara rahayat dina hubungan ieu. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] nglh14n6zji4s1j3dwaqdjk4pq9ydr9 16607 16606 2026-05-16T13:27:26Z Hasnanf 1958 /* Cutatan */ 16607 wikitext text/x-wiki '''Begum Khaleda Zia''' nyaéta perdana menteri Bangladésh taun 1991 nepi 1996, ogé ti 2001 nepi 2006. Anjeunna mangrupakeun perdana menteri wanoja Bangladésh mimiti, sakaligus perdana menteri wanoja kadua di nagara Muslim, sanggeus Benazir Bhutto. Anjeunna dipaparin pangajén ku Senat Negara Bagéan New Jersey salaku Pajoang Démokrasi di taun 2011, anu kasebut munggaran dipaparin ka pamingpin nagara di luar Amérika Serikat, hususna ti Asia Kidul. Khaleda Zia tilar dunya di taun 2025, dina yuswa 79 taun. == Cutatan == * ''"In this life without relatives, my countrymen are my relatives. Allah is my only hope. No matter where I am, as long as I live, I will not leave my countrymen."'' ** Dina kahirupan ieu tanpa dulur, balad-balad sabangsa kuring téh dulur-dulur kuring. Allah hiji-hijina harepan sim kuring. Di mana kuring aya, salila sim kuring hirup, sim kuring moal ninggalkeun dulur-dulur sabangsa kuring. * ''"It is impossible to practice parliamentary politics without having patience, decency, politeness and courtesy."'' ** Éta téh teu mungkin pikeun ngalarapkeun politik parlemén tanpa miboga kasabaran, kalakuan saé, kasopanan, jeung kasederhanaan. * ''"I have no other home but this country. My life and death are tied to this land."'' ** Sim kuring henteu miboga imah iwal ti nagara ieu. Hirup jeung pati kuring téh patali jeung taneuh ieu. * ''“The nation voted us to power to see unity and communal harmony, not for any division or communality.”'' ** Bangsa ieu milih urang pikeun kakuatan pikeun ningali harmoni babarengan anu ngahiji, lain pikeun babagéan atawa komunalitas. *''"The main challenge to further development of our relations is the lack of confidence and trust among our people in our relationship."'' **Tantangan utami pikeun pangembangan leuwih jauh ti hubungan [India-Bangladesh] téh kirangna rasa percaya diri jeung kapercayaan antara rahayat dina hubungan ieu. *''"I believe that early resolution of our outstanding problems on the basis of mutual benefit and pursued with mutual respect should be the main goal. The issues that are most important and deserve highest priority are sharing of the waters of our common rivers, killing of unarmed civilians in the border areas and a satisfactory resolution of our land boundary demarcation and understanding each other’s security concerns."'' **Sim kuring percaya yén pangréngsé awal tina masalah-masalah anu teu acan réngsé dumasar saling nguntungkeun sarta dilakukeun ku saling ngahormatan téh kudu jadi tujuan utama. Masalah-masalah anu leuwih penting sarta pantes jadi prioritas pangmimitina téh babagi cai ti walungan urang babarengan, ngabunuh warga sipil tanpa senjata di wilayah tapel wates sarta pangréngsé anu muaskeun tina wates démarkasi taneuh urang sarta pamahaman babarengan ngeunaan kahariwangan ngeunaan masing-masing pihak. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] imqv362g6b45odjnoerq1blioymmv69 0 6021 16604 16566 2026-05-16T13:16:23Z Hasnanf 1958 16604 wikitext text/x-wiki '''Sirāt''' nyaéta pilem drama anu dirilis taun 2025, karya sutradara Óliver Laxe, anu ogé ditulis ku anjeunna babarengan jeung Santiago Fillol. Pilem ieu mimiti ditayangkeun dina pasanggiri utama Festival Film Cannes ka-78, sakaligus meunangkeun Panghargaan Juri. Pilem ieu nyaritakeun bapa nu néangan budak awéwéna nu leungit, dibaturan ku budak lalakina sarta sakelompok tukang pésta di gurun Maroko kidul. == Plot == Luis, jeung budak lalakina, Esteban, indit ka hiji pésta nu diayakeun di gurun Maroko kidul jang néangan budak awéwéna nu leungit. Sakelompok tukang pésta tuluy méré nyaho yén aya pésta lain anu leuwih jauh di gurun sanggeusna, anu meureun didatangan ku budak awéwéna. Lalampahan Luis, budak lalakina, jeung kelompok éta téh tuluy ngalaman kajadian-kajadian bahaya salila maranéhna kudu nyebrangan éta gurun. == Cutatan == === Luis === * ''This makes no sense. We shouldn't have come. What do we do? The thing is... How do we get out of here? We're lost.'' ** Ieu téh henteu asup akal. Urang téh henteu kuduna datang. Naon anu ku urang kerjakeun? Masalahna téh.. Kumaha urang bisa kaluar ti dieu? Urang téh sasar. == Cutatan ngeunaan pilem ieu == * Óliver Laxe, sutradarana: ''This film is not only a film, it is a ceremony. It obliges you to look inside, which is something we don’t usually do. There is so much pain inside us, and in the world we live in, that we distract ourselves all the time. And it’s normal that we cannot be connected with pain all the time. So this film obliges you to look inside. This is violent, and it’s healthy. It’s like someone is beating you. The master is beating you with the stick. The film is moving something inside, touching something inside. And as an author, I’m really satisfied with this.'' ** Ieu pilem téh lain ngan saukur pilem, ieu téh upacara. Ieu téh ngawajibkeun anjeun pikeun ningali ka jero, anu mangrupakeun hiji hal anu urang teu biasa lakukeun. Loba kanyeri di jero diri urang, sarta di dunya di mana urang hirup, anu urang alihkeun terus-terusan. Sareng éta téh normal yén urang teu tiasa nyambung sareng kanyeri éta teterusan. Janten ieu pilem téh nitah anjeun pikeun ningal ka jero. Ieu téh telenges, tapi ieu téh séhat. Ieu téh siga hiji jalma ngagebugan anjeun. Tuanna téh ngagebugan anjeun nganggo hiji iteuk. Pilem ieu téh ngagerakkeun hiji hal di jero, nyagap hiji hal di jero. Sarta minangka panulis, sim kuring téh puas ngeunaan ieu. * ''Why nature could be the real question. Why do I shoot all my films in nature?  I mean, I don’t have anything about cities. Nature is not just a beautiful frame. Nature speaks. The desert speaks. The desert is testing you. It’s taking care of you while testing you. Nature has rules. What [[Andrey Tarkovsky|[Andrey] Tarkovsky]] evokes in [[Stalker]], for me, is reality. Even in a city, reality is a manifestation of something alive. There is a creative intelligence behind everything. There is a subtle world behind the material world. The desert is a place where you can’t hide yourself. You can’t be distracted. You are obliged to look inside. You know you can die there; you are connected with death. So your senses, your level of perception, are very awake. Even when we were at the door of the desert making the film—because when you make a film you are, in a way, protected—art is about crossing limits. Rave culture is about crossing limits. Spirituality is also about crossing limits. Love and craziness are closer than we think.'' ** Naha alam téh bisa jadi patanyaan nu benerna. Naha sim kuring nyokot sakabéh pilem sim kuring di alam? Maksud sim kuring, sim kuring teu gaduh nanaon ngeunaan kota. Alam téh henteu ngan hiji potongan anu éndah. Alam téh nyarios. Gurun keusik téh nyarios. Gurun keusik téh ngetés anjeun. Éta téh ngurus anjeun nalika ngetés anjeun. Alam téh miboga aturan-aturan. Naon anu [[Andrey Tarkovsky|[Andrey] Tarkovsky]] tunjukkeun dina ''[[Stalker]],'' pikeun sim kuring, téh kanyataan. Sanajan di kota, kanyataan téh bentuk tina hiji hal anu hirup. Aya kacerdasan kréatip tukangeun sagala hal. Aya hiji dunya anu teu kaciri tukangeun dunya material. Gurun keusik téh hiji tempat anu di mana anjeun teu bisa nyumput. Anjeun teu bisa kaganggu. Anjeun dipaksa pikeun ningali ka jero. Anjeun terang anjeun tiasa maot di dinya; anjeun téh nyambung jeung pati. Kitu deui pangersa anjeun, tingketan pamikir anjeun, téh hudang pisan. Sanajan nalika anjeun aya na panto gurun keusik nyieun pilem—ku lantaran nalika anjeun ngadamel pilem téh anjeun, dina hiji jalan, ditangtayungan—seni téh ngeunaan ngaliwatan wates. Budaya ''rave'' téh ngeunaan ngaliwatan wates. Spiritualitas téh ogé ngeunaan ngaliwatan wates. Asih jeung kagéloan téh leuwih deukeut dibanding anu ku urang sadaya pikirkeun. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] tm813vrwcmh3kge0goz1wuhj3fl9hgj 0 6024 16614 16576 2026-05-17T09:22:02Z Hasnanf 1958 16614 wikitext text/x-wiki '''Mohammad Rasoulof''' nyaéta sinéas independen Iran anu hirup di pangasingan di Éropa. Anjeunna kasohor ku sababaraha karyana anu berhasil meunangkeun pangajén, kaasup di antawisna, ''The Twilight'' (2002), ''Iron Island'' (2005), ''Goodbye'' (2011), ''Manuscripts Don't Burn'' (2013), ''A Man of Integrity'' (2017), jeung ''There is No Evil'' (2020). Taun 2025, pilem anjeunna nu panganyarna, ''[[The Seed of the Sacred Fig]]'' asup kana nominasi Pilem Panjang Internasional dibawa ku nagara Jérman. == Cutatan == * ''I think I have to accept that in order to see changes and reform in the structure of the country. We have to pay a price and every person will pay some price.'' ** Sim kuring pikir sim kuring kudu narima éta pikeun bisa ningali parobahan sarta pangwangunan ulang dina struktur ieu nagara. Urang kudu mayar hiji harga, jeung unggal jalma téh bakal mayar hargana. * ''Laws only deserve our respect as long as they improve interpersonal relationships and life in society. However, if they serve to promote violence... then they must be revised as a matter of urgency.'' ** Hukum téh ngan pantes dihargaan ku urang salila éta téh ngaronjatkeun hubungan interpersonal jeung kahirupan di masarakat. Sanajan kitu, nanging éta ngabakti pikeun ngarojong katelengesan... lajeng éta téh kudu diralat salaku urusan anu dibutuhkeun. * ''I decided to put away allegorical and metaphorical language because I felt it was a form of self-censorship. I decided to be myself. What matters to a dictatorship is that you aren't yourself.'' ** Sim kuring mutuskeun pikeun nyingkirkeun bahasa alégori jeung métapora kusabab sim kuring ngarasa éta téh bentuk sénsor pikeun diri sorangan. Sim kuring mutuskeun pikeun jadi diri kuring sorangan. Anu pangutamana pikeun kadiktatoran téh nyaéta anjeun lain diri anjeun sorangan. * ''The women’s movement in Iran has a long history and in the last episode of it, which was the Woman, Life, Freedom movement, we were caught by surprise. The new generation has a very different approach to the meaning of resistance and the meaning of life. In the previous generations, death was glorified in the fight and in resistance.'' ''A big difference with the new generation is that they fight for freedom, they fight for life, and they glorify life and they put value in the act of fighting for life, not for death. So their perceptions of life, their understandings of life are very different than what the previous generations understood. The new generation has a very large communication with the world around them and it sees itself as part of the world around it through, of course, social media.'' ** Gerakan wanoja di Iran téh miboga sajarah anu panjang jeung dina épisode terahirna téh, nyaéta gerakan Wanoja, Hirup, Kabébasan, urang sadaya téh teu kasawang sateuacanna. Generasi anyar miboga pandeukeutan anu kacida bédana pikeun harti tina perlawanan sarta harti kahirupan. Di generasi sateuacanna, maot téh diagungkeun dina perjoangan jeung perlawanan. Pangbéda anu badag tina generasi anyar téh nyaéta aranjeunna berjoang pikeun kabébasan, aranjeunna berjoang pikeun kahirupan, sarta aranjeunna ngagungkeun kahirupan jeung anjeunna méré niléy dina usaha berjoang pikeun kahirupan, lain jang maot. Janten persépsi anjeunna ngeunaan kahirupan, pamahaman aranjeunna ngeunaan kahirupan téh kacida bédana jeung anu dipikaharti ku generasi saacanna. Generasi anyar téh miboga komunikasi anu gedé jeung dunya sabudeureun aranjeunna sarta éta téh ningali dirina sorangan salaku bagéan tina dunya éta ngaliwatan, tos pasti, média sosial. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] [[Category: Inohong]] [[Category: Inohong Iran]] i9e9boc3k0smcoy80ou7mu3vm5v4e3i 0 6038 16617 16594 2026-05-17T09:23:16Z Hasnanf 1958 16617 wikitext text/x-wiki '''Omar El Akkad''' nyaéta jurnalis jeung penulis Mesir-Kanada-Amérika. Anjeunna kungsi jadi réporter jang ''The Globe and Mail'' salila 10 taun, nu mana anjeunna ngawartakeun perang di Afghanistan, Teluk Guantanamo, jeung Arab Spring di Mesir. Di taun 2025, buku anjeunna nu dirilis di taun nu sarua, ''One Day Everyone Will Have Always Been Against This'' meunang pangajén National Book Award for Nonfiction. == Cutatan == * ''To be accused of speaking too loudly about one injustice but not others by someone who doesn’t care about any of them is to be told, simply, to keep quiet.'' ** Pikeun dituduh nyarios tarik teuing ngeunaan hiji kateuadilan tapi henteu nu lianna ku hiji jalma anu henteu paduli ngeunaan hiji-hiji acan téh sami jeung siga dititah, sederhanana mah, pikeun angger cicing. * ''It is a hallmark of failing societies, I’ve learned, this requirement that one always be in possession of a valid reason to exist.'' ** Éta téh tanda tina masarakat anu gagal, sim kuring diajar, pasaratan ieu téh, éta téh teu weléh jadi pikamilik tina alasan valid pikeun hirup. * ''The moral component of history, the most necessary component, is simply a single question, asked over and over again: When it mattered, who sided with justice and who sided with power? What makes moments such as this one so dangerous, so clarifying, is that one way or another everyone is forced to answer.'' ** Komponen moral tina sajarah, komponen paling penting, téh sederhanana mah hiji patayaan, ditanyakeun tuluy tuluyan: Nanging éta aya hartina, saha anu mihak ka kaadilan sarta saha anu mihak ka kakuasaan? Naon anu ngajadikeun mangsa siga kieu téh bahaya pisan, jelas pisan, nyaéta hiji jalan atawa nu séjénna sakabéh jalma téh dipaksa pikeun ngajawab. * ''How empty does your message have to be for a deranged right wing to even have a chance of winning? Of all the epitaphs that may one day be written on the gravestone of Western liberalism, the most damning is this: Faced off against a nihilistic, endlessly cruel manifestation of conservatism, and somehow managed to make it close.'' ** Sakumaha kudu kosong pesen anjeun téh pikeun saurang sayap kanan sasar nepi ka miboga kasempetan pikeun meunang? Di antara sakabéh tulisan dina batu nisan anu engké bakal dituliskeun dina batu nisan liberalisme Barat, anu paling ngutuk téh ieu: Nyinghareupan langsung perwujudan konservatisme anu nihilistik jeung telenges, sarta henteu apal kumaha bisa ngadeukeutan kameunangan. * ''It seemed sensible to crave safety, to crave shelter from the bombs and the Birds and the daily depravity of war. But somewhere deep in her mind an idea had begun to fester-perhaps the longing for safety was itself just another kind of violence-a violence of cowardice, silence, submission. What was safety, anyway, but the sound of a bomb falling on someone else's home?'' ** Katingalina téh masuk akal pikeun miharep kaamanan, pikeun miharep panyalindungan tina bom sareng kapal perang sarta kabejadan perang sapopoé. Tapi hiji tempat dina pikiranna aya hiji ideu anu mulai kabentuk-meureun kasonoan pikeun kaamanan téh ngan bentuk lain tina katelengesan-hiji katelengesan tina kateuneung, kabisuan, katundukan. Naon ogé kaamanan téh, nanging sora bom murag dina imah hiji jalma nu lian? [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] [[Category: Inohong]] [[Category: Inohong Paléstina]] m32ot9vb22ofr1hdthflrsyms3hysxh 0 6039 16602 16569 2026-05-16T13:01:33Z Hasnanf 1958 16602 wikitext text/x-wiki '''Charles Robert Redford Jr.''' nyaéta aktor, sutradara, jeung produser Amérika, anu kasohor kahadiranna salaku peran utama dina aliran American New Wave. Anjeunna geus ngalanglangbuana di dunya seni peran leuwih ti 60 taun, sarta geus meunangkeun loba pangajén, kaasup hiji Academy Award, hiji BAFTA Award, jeung lima Golden Glob Awards. '''Robert Redford''' tilar dunya di taun 2025, dina yuswana nu ka 89 taun. == Cutatan == * ''All everyone talked about was aging. It took me by surprise because I have not thought of myself that way. I assumed I would age naturally, as time went on.'' ** Sadaya anu dicarioskeun ku sakabéh jalma téh ngan nambih kolot. Éta téh pikareuwaseun pikeun sim kuring kusabab sim kuring henteu pernah mikir kitu pikeun diri sim kuring sorangan. Sim kuring ngasumsikeun yén sim kuring bakal ngolotan sacara alami, siring waktu téh nyéréd. * ''I learned early that you'd better know what you're talking about. You'd better realize that certain issues are going to be so hot - no matter what reason, what logic you apply to it - you're going to be met with an opposition just because their viewpoint is different, and there's no way they're going to accept your reasoning. Furthermore, they're going to attack you because you will be portrayed as not being credible: "You're an actor. What do you know?"'' ** Sim kuring diajar awal yén anjeun téh leuwih saé terang naon anu ku anjeun nyalira carioskeun. Anjeun leuwih saé sadar yén masalah-masalah tertentu téh bakalan panas pisan - henteu paduli naon alesanna, logika naon anu anjeun larapkeun - anjeun bakal mendakkan oposisi ngan ku lantaran sudut pandang anjeunna téh béda, sarta teu mungkin anjeunna téh bakal narima panalaran anjeun. Leuwih deui, anjeunna bakal nyerang anjeun kusabab anjeun bakal digambarkeun kalayan teu bisa dipercaya: "Anjeun téh aktor. Naon anu ku anjeun pikanyaho?" * ''I have to be human, of course, to be flattered by attention from the public. How could you not be? But it gets pretty intense when people are going after your clothes, and mobbing you in the streets, and you have to hide. That's kind of amusing, and kind of mind-boggling when it happens - you kind of go with it and have fun with it. Then it gets tiring, and then it gets worse when you realize you're being robbed of a vital part of your life, which is your privacy. And you also know what's coming your way is artificial, because those people are reacting to something they saw on the screen, not you as a person.'' ** Sim kuring kudu janten manusa, tangtuna, pikeun bisa ngarasa kapuji ku perhatosan ti publik. Kumaha anjeun teu tiasa? Nanging éta téh janten leuleuwihan nalika batur téh ngarah aanggoan anjeun, sarta nyegat anjeun di jalan-jalan, sarta anjeun téh kudu nyumput. Éta téh ngahibur, sarta ngahérankeun nalika éta kajadian - anjeun siga kudu ngaluyukeun diri jeung kaayaan teras gumbira waé dina saban prosésna. Teras éta téh janten nyapékeun, sarta teras éta téh janten leuwih parah nalika anjeun sadar yén anjeun téh kaleungitan bagéan penting tina hirup anjeun, nyaéta privasi anjeun. Sareng anjeun téh ogé terang naon anu datang payuneun anjeun téh palsu, kusabab jalma-jalma éta téh masihan réaksi pikeun hiji hal anu anjeunna tinggal dina layar, sanés anjeun minangka hiji manusa. * ''A lot of what acting is, is paying attention.'' ** Seueur tina ngalalakon téh, nyaéta merhatoskeun. * ''Storytellers broaden our minds: engage, provoke, inspire, and ultimately, connect us.'' ** Tukang dongéng téh ngalegakeun pikiran urang: ngalibetkeun, ngahudangkeun, nginspirasi, sarta tangtuna, ngahubungkeun urang. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] ovaxxxygh6qgnas9682xbd9fugjl42r 0 6040 16603 16559 2026-05-16T13:06:22Z Hasnanf 1958 /* Cutatan ngeunaan pilem ieu */ 16603 wikitext text/x-wiki '''Sound of Falling''' nyaéta pilem drama Jérman, anu dirilis 2025, karya sutradara Mascha Schilinski. Pilem ieu dibéntangan ku Hanna Heckt, Lena Urzendowsky, Laeni Geiseler, Susanne Wuest, Luise Heyer, jeung Lea Drinda. Pilem ieu nyaritakeun opat generasi wanoja anu kasambungkeun ku hiji paternakan di Altmark, Jérman, nyingkabkeun rusiah di satukangeun pinding anu tos katarajang mangsa. == Plot == 1910an, Alma, 7 taun, tumuwuh di lingkungan pangangongan sareng adi-lanceukna. Salian ti padamelan sadidinten di pangangonan sareng panglawungan sareng sakitar, ajal téh hiji hal anu sering kajajanten. Anjeunna nyakséni persiapan pangureban saparantos tatanggi sareng salah sahiji dulurna tilar dunya. 1940an, Érika sareng Irm, hirup di pangangonan anu sarua. Hirup jeung rama anomna anu teu walakaya. 1980an, Angelika, putri ti Irm, hirup di pangangonan nu sarua. Hirupna loba ilubiung jeung kalakuan nangtang aturan. 2020an, Lenka, hirup di pangangonan anu sarua. Nanging kulawargana muser dina kahirupan anu harmonis. == Cutatan ngeunaan pilem ieu == * Mascha Schilinski, sutradarana: ''In a way it was very liberating, because the story itself was quite obstinate — when we tried to impose too much [structure] on it, it sort of fought back and so we had to go with the flow. And the way we did that was that we used images that swelled up within ourselves when we were thinking about the story. And we wrote these down and then it became almost more of an editing process than a writing process. It was a very associative process that led to this… Well, an almost impossible sort of collective memory, a document of a collective memory, a document of a strangely joined body experience over time. Or the body experiences, I should say, of the various protagonists.'' ** Dina hiji jalan ieu téh ngabébaskeun, kumargi caritana éta sorangan téh lumayan bedegong — nalika urang nyoba pikeun nunjukkeun loba teuing [struktur] dina éta, éta téh siga ngalawan balik janten urang téh kedah nurutkeun jalanna. Sarta kumaha urang ngalakonan éta téh urang nganggo gambaran anu ngulibet dina jero diri urang sorangan nalika urang mikir ngeunaan éta carita. Sarta urang téh nulis ieu teras éta téh janten leuwih ti prosés ngédit dibanding prosés nulis. Éta téh prosés anu asosiatip anu tuluy nepi ka die... Nya, hiji émutan koléktip anu ampir henteu mungkin, hiji dokumén tina mémori kolektip, hiji dokumén tina hiji awak pangalaman anu ngahiji siring gulirna mangsa. Atawa pangalaman tina éta awak ti sababaraha protagonis. [[Category: WikiSuarana]] [[Category: WikiSuarana-Hasnanf]] fykfn96avmdsh326nndeq0zvajpr2ex 14 6178 16615 2026-05-17T09:22:49Z Hasnanf 1958 Nyieun kaca anyar [[Category: Inohong dumasar nagara]] 16615 wikitext text/x-wiki [[Category: Inohong dumasar nagara]] arveuh1exq2bqwnrxcdrrtivf31icxz