scholarly journals Feminisme Liberal dalam Anime Kidō Senshi Gandamu Tekketsu No Orufenzu Karya Tatsuyuki Nagai

KIRYOKU ◽  
2021 ◽  
Vol 5 (2) ◽  
pp. 179-186
Author(s):  
I Made Dwi Christian Gustiana Putra
Keyword(s):  
Female Character ◽  
Sociology Of Literature ◽  
Female Characters ◽  
Liberal Feminism ◽  
Feminism Theory ◽  
High Degree

This research is entitled "Liberal Feminism in Kidō Senshi Gandamu Tekketsu no Orufenzu Anime by Tatsuyuki Nagai". Purpose of this this research of this study is to determine the form of liberal feminism from the main female character and the existence of female characters in Kidō Senshi Gandamu Tekketsu no Orufenzu Anime. In analysis, the theories used in this research are liberal feminism theory by Tong and sociology of literature by Wellek and Werren. Based on the analysis results, it was found that the liberal feminism that appears in the anime Kidō Senshi Gandamu Tekketsu No Orufenzu contained in the Kudelia character is the image of women, the position of women, intellectual women, and women who have a high degree of curiosity. Efforts to enforce the existence of women are seen from the existence of female characters.

Analysis of Female Implicates in the Video “Cara Kodein Cowok Biar Cepet Merid” by Last Day Production

2021 ◽  
Vol 1 (1) ◽  
pp. 14-20
Author(s):  
Hesti Nurlaeli
Keyword(s):  
Data Analysis ◽  
Data Collection ◽  
Female Character ◽  
Note Taking ◽  
Female Characters ◽  
Pragmatic Theory ◽  
Research Results ◽  
Analysis Techniques ◽  
Qualitative Descriptive ◽  
Data Collection Technique

A speech can also lead to a description of the principles of conversation. This also happened in Las Day Production's video “Cara Kodein Cowok Biar Cepet Merid”. This research aims to find out and describe the female characters’ utterances or the implicit forms of the in the video "Cara Kodein Cowok Biar Cepet Merid" by Last Day Production. The approach in this research uses pragmatic and qualitative descriptive. The data collection technique in this study was using the note-taking technique. The data analysis techniques used in this study were data triangulation, theory triangulation, and source triangulation. Triangulation of data was generated by recording the speech of a female character in the video "Cara Kodein Cowok Biar Cepet Merid" by Last Day Production. The theory triangulation refers to pragmatic theory, while the source triangulation is the video "Cara Kodein Cowok Biar Cepet Merid" by Last Day Production, which is downloaded on YouTube. The research results in the video "Cara Kodein Cowok Biar Cepet Merid” have 8 stories of female characters that contain implicatures.

scholarly journals Die dialoog tussen die voorblad, die manneplot en die verhale in Dulle Griet van Riana Scheepers

Literator ◽  
2001 ◽  
Vol 22 (2) ◽  
pp. 113-132
Author(s):  
G.H. Taljaard
Keyword(s):  
Short Stories ◽  
Female Character ◽  
Female Characters ◽  
Survival Mechanism ◽  
Male Attitudes ◽  
The Way

The dialogue between image and text in Riana Scheepers's Dulle Griet This article examines the way in which the content and theme of Riana Scheepers’s Dulle Griet (1991) interact with the “manneplot” (traditional and/or stereotypical portrayal of female characters within novels) and with the cover illustration of the book – a detail of “Mad Meg” (as she is often referred to) from Pieter Brueghel’s Dulle Griet (1562). It explores how the women in Scheepers’s short stories are portrayed – not only as vulnerable, but also as evil and corrupt. They are abused victims; but they are also tyrannical abusers. They are innocent maidens and mothers, but also lovers, prostitutes, lesbians and murderers. The way in which the gradual degeneration of the anonymous central female character relates to Brueghel’s image of “Mad Meg” on her way to the jaws of hell is discussed in this article. But the article also demontrates Scheepers’s concern with feminist issues by using the cover as an ironic “frame”, and shows that the moral decline of the women portrayed in the text seems to be as a result of the actions of chauvinistic men, who appear in different forms throughout the text. Female degeneracy can thus be seen as a survival mechanism, in a world – and a text – dominated by the masculine paradigm, the “manneplot” of traditional male attitudes to women.

scholarly journals Seen through his eyes: The representation of female characters in Béla Bartok's stage works

New Sound ◽  
2015 ◽  
pp. 39-54
Author(s):  
Mina Božanić
Keyword(s):  
Cultural Studies ◽  
Female Character ◽  
Gender Representation ◽  
Female Characters ◽  
Personal View ◽  
Specific Relationship ◽  
Images Of Women

The question of gender representation in Béla Bartok's (1881-1945) stage works is discussed through the prism of cultural studies, with reference to the intellectual, social and political atmosphere in which the composer shaped his ideas. In this sense, it is provocative to question how the stereotyped images of women influenced/merged with Bartok's personal view on women, or is it, maybe, possible that one intimate conception of female characters, reflected the composer's specific relationship toward women? The treatment of the female character will be shown through the analysis of the plot and key scenes in Bartok's stage work.

scholarly journals TRANSGRESI SEKSUAL DALAM NOVEL PARA PENEBUS DOSA KARYA MOTINGGO BUSYE (Sexual Transgression in Motinggo Busye’s “Para Penebus Dosa”)

2016 ◽  
Vol 7 (1) ◽  
pp. 35
Author(s):  
Ferry Fauzi Hermawan
Keyword(s):  
Social Norms ◽  
Gender Bias ◽  
Female Character ◽  
The Novel ◽  
Female Characters ◽  
Male Characters ◽  
Sexual Transgression ◽  
Descriptive Method

Artikel ini bertujuan untuk menggambarkan transgresi seksual yang terdapat dalam novel Para Penebus Dosa karya Motinggo Busye. Metode yang digunakan dalam artikel ini adalah metode deskriptif analitis. Data dari novel dideskripsikan untuk memperoleh gambaran transgresi seksual. Dalam novel tersebut pelanggaran terhadap kebiasaan seksual, norma, dan kelas digambarkan melalui peristiwa seksual yang dialami oleh para tokoh, terutama tokoh perempuan. Hasil analisis menunjukkan bahwa tokoh perempuan digambarkan banyak melakukan tindak transgresi dibandingkan dengan tokoh laki-laki. Analisis juga menunjukkan bahwa narator dalam novel memiliki sikap bias gender dan mendukung nilai-nilai patriarki dengan lebih banyak memberikan hukuman terhadap tokoh perempuan yang melakukan tindak transgresi seksual dibandingkan kepada tokoh laki-laki.Abstract:The paper aims at describing sexual transgression in Motinggo Busye’s “Para Penebus Dosa”.  The research applies descriptive method. The sexual transgressions elaborated in the novel are presented through the deviance of sexual affairs, social norms, and class experienced by the characters, especially female character. The result of the research shows that  female characters described in the story committed a lot of sexual transgressions compared to male characters. The study also reveals that the narrator in the novel  has a gender bias act. Moreover, he supports values of patriarchy by giving more punishment to the female committing sexual transgression act than to the male.

scholarly journals Stereotypes in female images of the Siberian epos

2020 ◽  
pp. 23-35
Author(s):  
E. N. Kuzmina ◽  
◽  
L. N. Arbachakova ◽  
N. V. Shulbaeva ◽  
◽  
...  
Keyword(s):  
Female Character ◽  
Special Role ◽  
Female Characters ◽  
Genetic Origin ◽  
Imaging Device ◽  
The World ◽  
Long Time ◽  
And Function ◽  
Normative Status ◽  
Over Time

In the heroic legends of the peoples of Siberia, a special role is played by typical descriptions (stereotypes) that carry plot-forming and compositional functions. They reflect the syncretism of aesthetic and moral popular views in their content and the semantic guidelines that epic heroes are endowed with. As ethno-poetic constants, these stereotypes embodied the people’s value attitude to the world around them and, being transmitted for a long time, became ethnically differentiated cultural universals acquiring a normative status over time. In this study, an axiological approach has been applied to consider traditional portrait descriptions of warlike heroes and virgins, based on the comparative material from the epic of Buryats, Khakasses, and Shors. This approach allowed us to conclude that the similarity in imaging the characters of these peoples’ epic has a natural and genetic origin and that the descriptions show the syncretism of aesthetic and moral assessments. The descriptions used in the depiction of female characters are intertextual stereotypes taken from the general epic fund. The structure of these stereotypes comprises supporting phrases that tend to become epic formulas and function independently in the epic. Of the poetic and visual means, stereotypes steadily involve the comparisons and epithets easily correlated with the phenomena and objects of Nature and Space. The generally accepted statement that hyperbole is the main imaging device in the heroic epos is also confirmed in the female character description stereotypes.

scholarly journals KARAKTER PEREMPUAN DALAM NOVEL PERAHU KERTAS KARYA DEWI LESTARI (TINJAUAN FEMINISME SIMON DE BEAUVOIR).

2016 ◽  
Vol 1 (2) ◽  
pp. 1
Author(s):  
SITTI AIDA AZIS
Keyword(s):  
Data Analysis ◽  
Data Collection ◽  
Literature Review ◽  
Descriptive Analysis ◽  
Female Character ◽  
Female Characters ◽  
Field Of Study ◽  
Related Literature ◽  
Analysis Technique ◽  
Language And Literature

AbstractThe research aimed to describe the female character (Kuggy) in “Perahu Kertas “ novel wrote Dewi Lestari. The benefit of this study was expected to enrich the wealth of knowledge, especially in the field of study Indonesian language and literature. The data in this study were words, sentences, and phrases that impling the female character in the Perahu Kertas Novel, whereas the source of the data in this study was Perahu Kertas Novel wrote Dewi Lestari work. Methods of study used literature review. Data collection techniques in this study, namely the descriptive analysis of literary works (in the form of documents) or books related literature discussed in the focus of research. The data analysis technique used to classify data that strengthens the research. The study was invented female characters in the Perahu Kertas Novel wrote Dewi Lestari.Key words: Woman, independent, creative, unique AbstrakPeneitian ini bertujuan untuk mendeskripsikan karakter perempuan( Kuggy)dalam novel Perahu Kertas karya Dewi Lestari. Manfaat penelitian ini diharapkan dapat memperkaya khazanah ilmu pengetahuan, khususnya dalam bidang studi Bahasa dan Sastra Indonesia. Data dalam penelitian ini adalah kata, kalimat, ungkapan yang mengandung makna karakter perempuan dalam novel Perahu Kertas, sedangkan yang menjadi sumber data dalam penelitian ini adalah novel Perahu Kertas karya Dewi Lestari. Metode penelitian ini menggunakan kajian pustaka. Teknik pengumpulan data dalam penelitian ini, yaitu teknik analisis  deskriptif karya sastra (dalam bentuk dokumen) atau buku-buku sastra yang berkaitan dengan fokus yang akan dibahas dalam penelitian. Teknik analisis data yang digunakan adalah mengklasifikasi data-data yang memperkuat hasil penelitian. Dengan begitu, ditemukanlah karakter perempuan dalam novel Perahu Kertas karya Dewi Lestari meliputi hal seperti: mandiri, kreatif, unik.Kata kunci: perempuan, mandiri, kreatif, unik.

Schrader’s Women: Cat People and Patty Hearst

2020 ◽  
pp. 122-138
Author(s):  
Brian Brems
Keyword(s):  
Female Character ◽  
Taxi Driver ◽  
Female Characters ◽  
Existential Anxiety ◽  
Representation Of Women ◽  
Male Characters ◽  
Self Actualization ◽  
Spiritual Freedom ◽  
Robert Bresson

Paul Schrader’s connection with director Robert Bresson is often explored through his male characters, the ‘man in his room’ of Light Sleeper and American Gigolo, but Taxi Driver before them and First Reformed most recently. However, Schrader’s two primary experiments with female characters, Cat People (1982) and Patty Hearst (1988), also follow a similar Bressonian trajectory and end with each female character incarcerated, yet finding a kind of spiritual freedom that helps them realize their identities. This chapter explores Schrader’s women primarily through close examination of Cat People’s Irina (Nastassja Kinski) and Natasha Richardson’s eponymous heroine in Patty Hearst, but use his representation of women in the male-driven films for points of comparison and contrast. In addition, this chapter approaches Schrader’s women as reflections of his male characters, many of whom are driven by existential anxiety that motivates them to seek self-actualization in redemptive violence.

Violence et révolte des femmes dans le théâtre de Marguerite Yourcenar, Nathalie Sarraute et Marguerite Duras

1998 ◽  
Vol 23 (3) ◽  
pp. 261-266
Author(s):  
Alexandre Terneuil
Keyword(s):  
Marguerite Duras ◽  
The Body ◽  
Sexual Pleasure ◽  
The Other ◽  
Female Character ◽  
Self Awareness ◽  
Nathalie Sarraute ◽  
Female Characters ◽  
Marguerite Yourcenar

In their plays, Yourcenar, Sarraute and Duras repeatedly portray women who oppose men, sometimes violently. Drawing on several examples, this paper aims to define a typology of female characters by analysing the double theme of violence and revolt. Some women find themselves imprisoned both by men and by their epoch; all they can do is to submit to the system put in place by society, against which they struggle in vain for freedom. After an initial submission to the rules of society, they are impelled towards a more or less successful revolt and this allows them to find fulfilment through rebellion. In the case of Yourcenar, woman resists as best she can; despite everything, her happiness is found in revolt and especially, perhaps, in revenge. In the case of Sarraute, the emergence and development of the Sarrautian ‘tropism’ becomes both an act of affirmation for the female character and an act of struggle against the other, the male. Woman, for Duras, is hi a position of quasi-imprisonment by two psychic spaces which occupy her totally: both violence and revolt are expressed through the body, its behaviour and its sexual pleasure. But there is also a contained violence, already filtered by an attempt, sometimes vain, to express it through words. However, many of the lines spoken by these women demonstrate a clear self-awareness through violence which is either contained or which can explode in a bid for freedom.

What Does it Mean to be a Female Character in “Indie” Game Storytelling? Narrative Framing and Humanization in Independently Developed Video Games

2021 ◽  
pp. 155541202110262
Author(s):  
Mildred F. Perreault ◽  
Gregory Perreault ◽  
Andrea Suarez
Keyword(s):  
Video Games ◽  
Time Frame ◽  
Female Character ◽  
Female Characters ◽  
Potential Shift ◽  
General Lack ◽  
Gaming Culture ◽  
Representations Of Women

Video games have long held a spotty history in their narratives regarding women. Most research has examined large budget games and identified issues of simplification, oversexualization, and a general lack of agency among female characters. The present study explores the gaming niche of “indie”—or independent game developer—video games in their representations of women in particular with Never Alone, Gone Home, and Her Story. These games were released around the time frame of the GamerGate controversy—a controversy which drew attention to the treatment of women in gaming culture—and hence, the games are used to reflect on a potential shift in games culture following the controversy. This article argues that these game narratives emphasized multilayered female characterizations, female-to-female interactions, and internal dramas as a way to potentially reach female gamers and present an alternative, humanizing narrative on women.

scholarly journals Chitra Banrjee Divakaruini’s “The Forest of Enchantments: Revisiting the Epic from Sita’s Prespective”

2020 ◽  
Vol 8 (6) ◽  
pp. 114-120
Author(s):  
S. Narmadha
Keyword(s):  
The Self ◽  
Female Character ◽  
Female Characters ◽  
Indian Culture ◽  
Ancient India ◽  
Way Of Thinking ◽  
Self Discovery

Chitra Banerjee Divakaruni’s The Forest OF Enchantments is about the retelling of our ancient prestigious epic of Ramayan from Sita’s perspective. As an Indian diasporic writer Divakaruni has nostalgia about Indian culture and tradition. The word culture comprises of behaviours and institutions, for its attempts at retelling an ancient epic through the female’s perspective. This novel focuses on the self discovery of Sita who is a celebrated female character of ancient India. So, Divakaruni has changed her way of thinking from traditional portrayal of simple and selfless women into modern female characters who is searching for their identity in the patriarchal world.

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