研究發現，小說的敘事者將自己定位為類似哇揚表演中的大郎。敘事上的相似之處在於人物的塑造與哇揚敘事相似，尤其是改編自印度著名同名史詩的《摩訶婆羅多》和《羅摩衍那》。本文還發現，這部小說是在哇揚表現的背景下向當地和區域讀者訴說的，特別是對軍國主義暴力形式的長期殖民壓迫的批評，這種壓迫導致了婦女的家庭/性壓迫。 ;This thesis will examine the familial/sexual oppression and militarist violence which are distinguished by manifesting the local Indonesian puppet performance, Wayang tradition, in the famous Eka Kurniawan’s Magical Realism novel entitled Beauty is a Wound. The novel discusses an understanding of the long-standing male dominance culture in the Indonesian society which becomes one of the factors of the position of women. By manifesting wayang in the reading, this thesis analyzes how the novel is constructed by adapting wayang, including the similarity in the narratives as well as the method of storytelling. The studies found that the narrator of the novel is positioning himself akin to dalang in wayang performance. The similarity in the narratives is found where the portrayal of the characters are similar to wayang narratives, especially the wiracita Mahabharata and Ramayana which adapted from the famous Indian epic with the same title. This thesis also found that the novel is speaks to the local and regional readers in the context of wayang manifestation, especially on the critics of an extended colonial oppression in the form of militarist violence, which resulted in the women’s familial/sexual oppression.
