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Karenanya, rumah makan Padang pun amat mudah dijumpai di kota-kota kecil maupun besar di seluruh pelosok Nusantara, dengan menu khas yang kuat pada rasa serta menggugah selera. Padang tak melulu tentang makanan. Dari Padang, Anda dapat menyinggahi pulau-pulau sekitar seperti Pagang, Cubadak, Pasumpahan dan banyak lagi. Lalu apa lagi yang Anda tunggu? Bergegas kemasi baju renang, krim tabir surya serta kamera, dan tentunya bawa juga selera makan Anda.

Setelah menjelajahi birunya laut dan putihnya pasir pantai, menikmati dermaga dan pantai Pulau Pagang dan Pasumpahan, Anda bisa melengkapi liburan dengan beragam menu khas Padang. Keakraban mampu tercipta lewat telisik kuliner. Dan Indonesia yang beragam namun satu dalam berbagi kelezatan rasa adalah sebuah keistimewaan. Ingin mencoba wisata kuliner di seantero Indonesia? Kunjungi ayoliburan. The nation now recognises her as an advocate of animal rights and environmental issues. Right now, she is trying to travel less and work on more projects to create bigger impacts.

Actress, model and presenter, Nadine Chandrawinata is a woman of many hats. Two years ago, she created Sea Soldier, a community of environmental activists who are committed to making changes in the areas where they live. Earlier this year, she established her own fashion line, Gamma Clothing, and she also recently launched her own YouTube channel, Ruang Nadine. Standing tall at cm, Nadine has hardly ever needed a major makeover to change her look. However, a recent project required her to sit through a couple of hours of make-up and wardrobe changes.

Sporting a baseball cap, a messy wig and a pair of glasses, Nadine dropped in to visit a travelling dolphin circus in Pondok Gede, East Jakarta. The disguise was necessary because Nadine wanted to make sure she could go in and report from the scene. She knew that the circus organiser had put pictures of animal rights activists in the ticket booth for their staff to watch out for.

Nadine managed to get a ticket, sat at the front and recorded parts of the show for her YouTube channel. Are you? We could smell the chlorine from where we were sitting. This episode is the embodiment of her personal campaign against the travelling dolphin circus, which, unfortunately, is still a big hit in Indonesia.

They are suffering from long periods of travel with poor standards of space and hygiene. A few years ago, Nadine would spend up to two weeks at a time away from her family and friends. She has missed too many weddings, birthdays and baby showers. She was also upset that she could not make the time to support personal causes close to her heart.

It is a title that comes with great responsibility In fact, everything that Nadine has done in the past decade has been part of her efforts to spread awareness for the environment. It serves as both a social campaign and a community with over members across Indonesia, including Jakarta, Gresik, Surabaya, Banyuwangi, Bali, Makassar and Manado.

The sea is where everything ends up and, sadly, it also includes the waste. But Nadine also encourages her fellow Sea Soldier members to create their own activities related to environmental problems in their cities. It is a title that comes A while back, she visited her Sea Soldiers in Bali, where they took a dive to pick up underwater rubbish. A similar event took place in Makassar. Meanwhile, members in Manado are more concerned about sea turtles.

For Nadine, the result may be unknown, but the work is the most important thing. No need to boast. Gelar ini memberinya tanggung jawab dan ia dengan senang hati menjalaninya. Saya bisa mencium bau klorin dari tempat saya duduk. Itu karena penyelenggara tidak mengganti airnya untuk lumba-lumba. Sudah lebih dari satu dekade berlalu sejak Nadine Chandrawinata dinobatkan sebagai Puteri Indonesia. Kini, ia dikenal luas sebagai pegiat isu-isu lingkungan hidup.

Ia pun berusaha mengurangi jadwal travelling agar bisa fokus mengerjakan proyekproyek lingkungan untuk menciptakan dampak yang lebih besar. Sebagai aktris, model dan presenter, Nadine Chandrawinata bisa dibilang wanita serba bisa. Dua tahun lalu, ia membentuk Sea Soldier, sebuah komunitas aktivis lingkungan yang berkomitmen melakukan perubahan di sekitar tempat mereka tinggal. Awal tahun ini, ia mendirikan bisnis lini busana dengan nama Gamma Clothing.

Dan beberapa waktu lalu, ia juga meluncurkan kanal YouTube-nya sendiri, Ruang Nadine. Dengan tubuh tinggi semampai cm, Nadine memang tidak perlu banyak riasan untuk mengubah penampilannya. Namun, untuk sebuah proyek baru-baru ini ia rela melakukan perubahan drastis. Penata rias mengubah kulit Nadine yang bersih dan bercahaya menjadi berjerawat dan kusam.

Dengan mengenakan topi baseball, wig yang acak-acakan dan kacamata, Nadine datang ke pertunjukan sirkus lumba-lumba di Pondok Gede, Jakarta Timur. Penyamaran itu dilakukannya agar ia bisa masuk dan melaporkan dari tempat kejadian. Warner yang saya tampilkan sebagaimana aslinya. Belum saya terjemahkan. Nantilah, di lain kesempatan saja, jika ada waktu luang.

Why is this so? Secondly, the rise of the novel narrative is vitiated by the fact that its essential aim is to legitimize the novel as a form of literature. Thus the rise of the novel narrative demonstrates that the technology of realism enabled prose narratives about love and adventure, which large numbers of readers had begun to read for entertainment by the second half of the 17th century, to rise into a form of literature every bit as valuable and important as the established literary types of poetry, epic and drama.

What has been the effect of this narrative? We need a more historically rigorous and culturally inclusive conception of what the novel is and has been. My recent book, Licensing Entertainment aims to contribute to such a project. There, I document the development of the rise of the novel narrative within a long literary historical tradition that begins with Clara Reeve and John Dunlop and extends through many of the literary histories before Watt including Scott, Hazlitt, Taine, Saintsbury,.

At the same time I have articulated my critical differences from Watt and many more recent critics who have sought to update or revise that narrative. Licensing Entertainment, To develop a more inclusive understanding of early modern novel reading and to grasp novels at their highest level of generality, it is useful to compare the novel to that other successful offspring of the cultures of print, the newspaper.

A newspaper is not just an unbound folio sheet printed with ads and news. The idea of the modern may be the effect of this media-assisted mutation in our way of taking in the world. While the printing of books devoted to prestigious cultural activities like religion, law, natural philosophy began in the 15th century and gained momentum in the 16th century, it was not until the later 17th century that short novels helped to shift the practices of reading so that novels could become a mode of entertainment.

Several factors helped promote novel reading for entertainment: lower printing costs; an infrastructure of booksellers, printers and means of transport; a critical mass of readers of vernacular writing; and the opportunistic exploitation of the new vogue for reading novels usually in octavo or duodecimo format by generations of printers and booksellers.

But if there was to be a rise of novel reading, it required a complex shift in reading practices. Historians of reading like Robert Darnton and Roger Chartier have described these changes, changes which are never complete or unidirectional: from intensive reading of a few books like the Bible to extensive reading of a series of similar books like novels ; from slow reading as a prod to meditation to an absorptive reading for plot; from reading aloud in groups to reading alone and in silence; from reading the Bible or conduct books as a way of consolidating dominant cultural authority to reading novels as a way to link kindred spirits; from reading what is good for you to reading what you like.

Like television watching in the mid 20th century, novel reading took France and England by storm; like television watching, reading novels engendered excitement and resistance in the societies where it first flourished. In this essay I will interpret some of the paintings and prints of the period that stage readers reading in hopes of broadening our understanding of the first century of novel reading.

In adopting this strategy, I will be doing the reverse of what early modern image makers have done. As we shall see, early modern artists use images of readers reading to reflect upon the nature of viewing painting; in this essay, I will read these paintings to see how they reflect the crisis in early modern reading provoked by the popularity of reading novels for entertainment.

Anyone surveying the Dutch and French genre paintings and prints of the 17th and 18th century—a type of image making that captures ordinary people in their everyday domestic activities—will quickly discover the currency of images of readers reading. From old men reading grand folios in solitude to young women absorbed in their novels, the paintings and prints of the period stage reading as inviting, compelling, and sometimes dangerous.

What started as a promotional campaign for the reading of moral and didactic books ends up as a culture war about the pleasures and dangers of novel reading. However these visual texts also meditate upon a cultural problem closely related to book reading, the question of how a viewer should benefit from their encounter with a painting. This painting, in which Rembrandt used his mother as a model, stages reading as an intimate and delicious encounter with the light of truth.

In a painting by Chardin from figure 2 , reading is imbued with a similar hush and solemnity. Fried shows how representation of figures deeply absorbed in some activity becomes a strategy for taking painting beyond the arch theatricality and superficial sensuality attributed to the Rococo style by mid century. At the same time various compositional effects are used to produce paintings that will absorb the beholder of the painting: rich painterly surfaces Chardin , animated brush work Fragonard , and didactic drama Greuze.

It is no surprise, I think, that figures of readers reading figure so prominently in this elevation of the cultural role of genre painting: by articulating beholding an image with reading a book, images of reading could anchor the greater cultural significance being claimed for painting. Reading could offer a means of inculcating religious and family values. In this way the power of reading to move its auditors is put on visual display.

How does this painting earn its claim to broad moral significance? In all three of these paintings—whether reading is oral or silent, part of solitude or social exchange—it is supposed that one reads to improve the self. Here are several images that express different aspects of that vast cultural project. In the companion piece of the same child, we can see the exhaustion this sort of intensive reading may entail.

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