摘要：The ghost stories as comic-strips by Den Dhika Kamesywara in the newspaper Pos Kota, it’s a junction of at least three discourses: (1) art-horror, where the horror-work reveal the position of ghost in the human world; (2) part of an ethnic culture in the process of negotiation in the urban culture; (3) part of the popular press, which had the nature to opposed the normal and official knowledge from the power-bloc. As phenomenal and political violence became real ghost in the everyday life, at the start of the new millennium, the ghost stories functioned as a counter memory which give them the familiar ghost. That makes the cultural identity of the working class confirmed and the repression in the urban city that never recognized them relieved. The reading of the ghost stories became an interplay of meaning in the politics of entertainment.
