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This study analyzes the role of families and caregivers at Panti Sosial Tresna Werdha Wana Seraya Denpasar in implementing elderly care programs and examines the implications of these programs for the quality of life of older adults. Using a qualitative method with an ethnographic approach, data were collected through participant observation, in-depth interviews, and documentation. Two theoretical frameworks guided the analysis: Carrolyn Smith-Morris’ Social Support Theory, which highlights the importance of emotional, informational, and instrumental support for elderly well-being, and Robert J. Havighurst’s Activity Theory, which states that active involvement in social, physical, and spiritual activities enhances happiness and life satisfaction in old age. The findings show that families’ involvement remains limited due to time and distance constraints, yet their emotional presence still contributes positively to the psychological comfort of the elderly. Caregivers play a dominant role in meeting the physical, social, emotional, and spiritual needs of residents. The care program demonstrates positive implications, including improved health stability, increased social interaction, strengthened feelings of appreciation, and enhanced spiritual peace. Additionally, Balinese cultural values such as tatwam asi and menyama braya reinforce empathy, togetherness, and respectful relationships within the care system. The study concludes that synergy between families, caregivers, and local cultural values forms a crucial foundation for a meaningful and humane elderly care system.  

This study analyzes the role of families and caregivers at Panti Sosial Tresna Werdha Wana Seraya Denpasar in implementing elderly care programs and examines the implications of these programs for the quality of life of older adults. Using a qualitative method with an ethnographic approach, data were collected through participant observation, in-depth interviews, and documentation. Two theoretical frameworks guided the analysis: Carrolyn Smith-Morris’ Social Support Theory, which highlights the importance of emotional, informational, and instrumental support for elderly well-being, and Robert J. Havighurst’s Activity Theory, which states that active involvement in social, physical, and spiritual activities enhances happiness and life satisfaction in old age. The findings show that families’ involvement remains limited due to time and distance constraints, yet their emotional presence still contributes positively to the psychological comfort of the elderly. Caregivers play a dominant role in meeting the physical, social, emotional, and spiritual needs of residents. The care program demonstrates positive implications, including improved health stability, increased social interaction, strengthened feelings of appreciation, and enhanced spiritual peace. Additionally, Balinese cultural values such as tatwam asi and menyama braya reinforce empathy, togetherness, and respectful relationships within the care system. The study concludes that synergy between families, caregivers, and local cultural values forms a crucial foundation for a meaningful and humane elderly care system.  

This study examines the utilization of haiku as a form of response to postwar trauma through Kaneko Tota’s and Saito Sanki’s war-themed haiku. Following Japan’s defeat in World War II in 1945, a cultural shift occurred marked by transformation within traditional arts, particularly haiku, which became a significant medium for expressing traumatic historical and social experiences. Although both poets used haiku as a medium to express dissatisfaction and critique the socio-political conditions of the postwar period, they represented different generations and approaches in responding to postwar trauma. Saito, having directly experienced the trauma of war, developed a deconstructive strategy towards traditional haiku conventions. Meanwhile, Kaneko, belonging to the postwar generation, adopted a more radical approach in formal and semantic experimentation. These dual strategies not only embodied individual artistic responses to trauma but also contributed to a broader cultural project aimed at reconstructing Japan’s collective identity in the postwar era. Yuri Lotman’s cultural semiotics framework is employed to analyze the semiotic transformation dynamics in the poets' works. Lotman’s theory, with its key concepts of semiosphere, cultural text, and translation mechanisms, offers a comprehensive analytical tool for understanding the dynamics of sign systems and cultural meanings in World War II-themed haiku. From the analysis of five war-themed haiku, it is concluded that both poets constructed a collective trauma discourse. Rather than employing explicit descriptive narratives, the trauma discourse utilizes strong semiotic condensation strategies. Saito and Kaneko juxtaposed established cultural symbols and codes, such as Hiroshima as a metaphor of absolute destruction, the marathon as a symbol of life, breasts as a symbol of motherhood, and blooming flowers representing renewal into new surreal configurations that created novel meanings at the semiotic boundaries where tensions clashed.

This study examines the utilization of haiku as a form of response to postwar trauma through Kaneko Tota’s and Saito Sanki’s war-themed haiku. Following Japan’s defeat in World War II in 1945, a cultural shift occurred marked by transformation within traditional arts, particularly haiku, which became a significant medium for expressing traumatic historical and social experiences. Although both poets used haiku as a medium to express dissatisfaction and critique the socio-political conditions of the postwar period, they represented different generations and approaches in responding to postwar trauma. Saito, having directly experienced the trauma of war, developed a deconstructive strategy towards traditional haiku conventions. Meanwhile, Kaneko, belonging to the postwar generation, adopted a more radical approach in formal and semantic experimentation. These dual strategies not only embodied individual artistic responses to trauma but also contributed to a broader cultural project aimed at reconstructing Japan’s collective identity in the postwar era. Yuri Lotman’s cultural semiotics framework is employed to analyze the semiotic transformation dynamics in the poets' works. Lotman’s theory, with its key concepts of semiosphere, cultural text, and translation mechanisms, offers a comprehensive analytical tool for understanding the dynamics of sign systems and cultural meanings in World War II-themed haiku. From the analysis of five war-themed haiku, it is concluded that both poets constructed a collective trauma discourse. Rather than employing explicit descriptive narratives, the trauma discourse utilizes strong semiotic condensation strategies. Saito and Kaneko juxtaposed established cultural symbols and codes, such as Hiroshima as a metaphor of absolute destruction, the marathon as a symbol of life, breasts as a symbol of motherhood, and blooming flowers representing renewal into new surreal configurations that created novel meanings at the semiotic boundaries where tensions clashed.