Gerwani Archive
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GA-03055 2000 rel B licensed

Autobiographical Fictions: Indonesian Women's Writing from the Nationalist Period

Autobiographical Fictions: Indonesian Women's Writing from the Nationalist Period (Shackford-Bradley, 2000)

PhD dissertation (UC Berkeley, 2000) by Julie Shackford-Bradley reading autobiographical fiction by Indonesian women writers of the nationalist period: Kartini, Hamidah, Suwarsih Djojopuspito and S. Rukiah Kertapati (ch. 5 on Kedjatuhan dan Hati). Gerwani is not discussed; it appears only in bibliographic notes citing

GA-03713 2012 KITLV Press (Verhandelingen 274), Leiden rel B

Heirs to World Culture: Being Indonesian 1950–1965

Heirs to World Culture: Being Indonesian 1950-1965 (KITLV Press, 2012)

Edited volume (KITLV Press, Leiden, 2012) by Jennifer Lindsay and Maya H.T. Liem on Indonesian culture and its international links, 1950-65. Gerwani appears only in passing: Michael Bodden's chapter on Lekra theatre says Gerwani, like Lekra and CGMI, was pressed by the PKI in 1964 to declare itself communist (p. 470, c

GA-03714 2012 KITLV Press (Verhandelingen 274), Leiden rel B

Heirs to World Culture: Being Indonesian 1950–1965

Heirs to World Culture: Being Indonesian 1950-1965 (KITLV Press, 2012)

Edited volume (KITLV Press, Leiden, 2012) by Jennifer Lindsay and Maya H.T. Liem on Indonesian culture and its international links, 1950-65. Gerwani appears only in passing: Michael Bodden's chapter on Lekra theatre says Gerwani, like Lekra and CGMI, was pressed by the PKI in 1964 to declare itself communist (p. 470, c

GA-03062 2020 rel A licensed

Years of Dressing Dangerously: Modern Women, National Identity and Moral Crisis in Sukarno's Indonesia, 1945-1966

Years of Dressing Dangerously: Modern Women, National Identity and Moral Crisis in Sukarno's Indonesia (Sullivan, 2020)

Charles P. Sullivan's PhD dissertation (History, University of Michigan, 2020) reads Indonesian women's magazines (Wanita, Puspa Wanita, Varia) from 1945-66 to argue that the Lubang Buaya narrative about Gerwani worked as a 'post-text' of long-running anxieties over modernity, moral crisis and the 'Mother of the Nation