This study aims to find out the structure of the novel Mengejar-ngejar Mimpi by Dedi Padiku , describe the values of character education contained in the novel Mengejarngejar Mimpi by Dedi Padiku, and to find out its relevance as an Indonesian Language learning material in high school. The data of this study are quotations in the novel that are in accordance with the value of character education. The results of the study can be concluded that first, the structure of the novel Mengejar-ngejar Mimpi (The Pursuit of Dream) by Dedi Padiku includes (a) the theme: the struggle of Dedi Padiku characters in pursuing their dreams. (b) the maincharacter: Dedi Padiku, whileadditional figures: Iyen, Alun, Suwanda, Iwan, Iton, and Budi prosper. (c) plot: forward, (d) the background is divided into 3, namely; place setting, time setting, and situation setting. Secondly, the value of character education in the novel "Mengejar-ngejar Mimpi" by Dedi Padiku is 9, namely discipline, hard work, independence, curiosity, fond of reading, responsibility, religious, respectful of achievement, firendly/communicative. Third, the novel Mengejar-ngejar Mimpi by Dedi Padiku can be used as a teaching material for Indonesian language learning in high school, because it is an accordance with the 2013 curriculum contained in the syllabus, which is about the novel structure found in even semester XII.

This study aims to describe identities, roles, and gender relations in children’s novels.The data sources were six children’s novels published by Dar! Mizan.The six novels werepurposively selected. The data were collected by repeatedly reading the novels, recorded,and classified based on the problem formulation categories. They were analyzed usingthe framework of feminist literary criticism, namely woman as a reader. The results ofthe study are as follows. First, gender equality has not been manifested because there isstill gender identity stereotyping. Characters with two identities, feminine and masculine,are described as weird characters. Second, there is inequality in the distribution of genderroles. Female characters have roles in public and domestic sectors and male charactersplay roles in the public sector only. Third, existing relations show varied but recognizablepatterns. The relations are manifested in different forms depending on contexts, sexes,ages, social classes, cultures, and descendant factors.

The COVID-19 pandemic has brought changes in the Indonesian language learning process. The obstacle experienced by students during the learning process is boredom. Indonesian teaches students to build the character of spoken and written language, either by using the media or directly. This study aims to facilitate students in online learning using media. This research was piloted on tenth-grade students of SMA Muhammadiyah 1 Prambanan. The study was conducted using Instagram as a Criteria Reference Assessment. The method used is descriptive qualitative. The results of this study are writing and reading exposition texts using Instagram social media with a total score of 2104, an average score of 84.1, the highest score of 96, and the lowest score of 78. Therefore, it can be said that the use of Instagram social media in learning to write and write reading the exposition text is appropriate. The Instagram application is proven to be effective and easy to use in conducting online learning.

AbstrakKampus berfungsi tidak hanya sebagai jembatan untuk mencapai pendidikan tinggi, namun juga wahana untuk mengembangkan kompetensi individu, termasuk dalam bidang sastra. Sastrawan-sastrawan muda atau yang bertumbuh ketika menempuh pendidikan di perguruan tinggi atau kampus ini biasa disebut sastrawan kampus. Ppenelitian ini bertujuan mengidentifikasikan latar belakang sosial, ideologi, profesionalisme kepengarangan, dan posisi sosilal  sastrawan kampus FBS UNY khasanah sastra Indonesia. Penelitian  ini menggunakan pendekatan fenomenologis dengan fokus penelitian pada sastrawan kampus yang aktif menulis prosa (novel dan cerpen) di Fakultas Bahasa dan Seni UNY. Hasil penelitian sebagai berikut. Pertama, sastrawan kampus Universitas Negeri Yogyakarta sebagian besar berasal dari suku Jawa. Sastrawan kampus lebih banyak didominasi lelaki.  Umumnya, sastrawan kampus memiliki latar belakang keluarga yang berkorelasi dengan dunia pendidikan. Kedua, sastrawan kampus umumnya lebih memilih memperhatikan hal-hal yang dianggap sering diabaikan dalam kehidupan untuk ditulis dalam karya mereka. Idealisme mengenai nilai-nilai otentik yang berbenturan dengan nilai pragmatisme masyarakat menjadi energi besar yang menggerakkan sastrawan-sastrawan kampus untuk menulis. Ketiga, sastrawan-sastrawan kampus umumnya tidak menjadikan menulis sebagai profesi utama mereka. Menulis adalah kerja sampingan. Sastrawan kampus tidak bergantung pada patronase tertentu.  Keempat, beberapa sastrawan kampus memiliki posisi yang cukup penting dalam sastra Indonesia. Posisi ini dipengaruhi oleh produktivitas karya, promosi dan publikasi, serta jejaring yang dimiliki. Semakin banyak karya yang dihasilkan dan dipublikasikan secara massif di berbagai media, maka penulis karya tersebut akan semakin dikenal oleh masyarakat.Kata kunci: profil, sastrawan kampus, sosiologi pengarang   Abstract               The aims of this study are: (1) to identify the social background of campus writers, (2) to explain the social ideology of campus writer, (3) to explain the professionalism of campus writer, and (4) to map the social position of FBS UNY campus writers in Indonesian literature. This research is a fenomenological qualitative research with a focus of research on campus writers who are active in writing prose (novels and short stories) in the Faculty of Language and Arts of UNY, using the author's sociology approach. The research subjects were selected purposively, namely Herlinatiens, Kedung Darma Romansha, Eko Triono, Muhammad Qadhafi, and Kun Anindito. Data collection techniques used in interviews, searches and studies of campus literary works, as well as news searches in various media. The validity used is expertjudgment, while the reliability of the data is triangulation between researchers and sources. The results of the study show: (1) most of the Yogyakarta State University campus writers are from Javanese. Campus writers are dominated by men. Generally, campus writers have a family background that correlates with the world of education, except Kedung Dharma. (2) Campus writers generally prefer to pay attention to things that are considered often ignored in life to be written in their work. Idealism about authentic values that collide with the pragmatism of the community becomes a great energy that motivates campus writers to write. (3) Campus writers generally do not make writing their main profession. Writing is a side job. Campus writers do not depend on certain patronage. (5) Some campus writers have quite important positions in Indonesian literature. This position is influenced by the productivity of works, promotions and publications, and the networks that are owned. The more massive work produced and published in various media, the writer of the work will be increasingly known by the public.Keywords: profile, campus writer, author’s sociology approach

The purpose of the study was to describe the dimensions of the text, the practice of discourse, socio-cultural practices, and the ideological formations in the short stories that face imagined on porridge plates. The theory used is the theory of sociology of Gramci hegemony. The method used is a qualitative method with the Fairclouhg model of critical discourse analysis techniques. The results of the study are: a form of hegemony when traditional markets turn into modern markets and make people have a consumptive lifestyle. The author expresses his criticism of the current phenomenon subtly with the symbol of genderuwo which has greed and hegemonic character. Genderuwo is represented as a capitalist system which is currently controlling society. The form of ideological formation in the form of authoritarianism-capitalism and humanisticmysticism. There are groups of hegemony, pro-hegemony, and groups of counter-hegemony. The hegemony group is the main actor in the occurrence of hegemony (the dominant group), while the pro-hegemony group is a figure who supports the occurrence of hegemony, the counter-hegemony group consists of people who oppose the occurrence of hegemony (cultural rise).