scholarly journals Penyejajaran Diri Tokoh Perempuan Novel Cintaku di Kampus Biru Karya Ashadi Siregar

2020 ◽  
Vol 9 (2) ◽  
pp. 125-130
Author(s):  
Erisa Septianingrum ◽  
Nas Haryati Setyaningsih
Keyword(s):  
Popular Culture ◽  
College Student ◽  
Popular Literature ◽  
Female Gender ◽  
The Novel ◽  
Woman Character ◽  
Men 2 ◽  
Love Relationship ◽  
And Gender ◽  
Final Degree

Penelitian berjudul Penyejajaran Diri Tokoh Perempuan Novel Cintaku di Kampus Biru Karya Ashadi Siregar ini membahas feminisme dengan menguraikan kesejajaran gender dalam novel Cintaku di Kampus Biru. Penelitian ini dilakukan karena adanya pandangan kesejajaran gender tokoh perempuan sebagai bagian dari budaya populer yang menarik untuk dikaji. Selain itu, problematika asmara mahasiswa tingkat akhir sebagai ciri sastra populer memiliki keunikan yang tidak terdapat pada novel lain yaitu hubungan asmara mahasiswa dengan mahasiswa dan mahasiswa dengan dosen. Adapun teori yang digunakan untuk yang digunakan dalam penelitian ini adalah feminisme dan kesejajaran gender. Hasil penelitian ini berupa paparan mengenai: 1) penggambaran tokoh perempuan dalam novel Cintaku di Kampus Biru karya Ashadi Siregar sebagai upaya menyejajarkan diri dengan laki-laki, 2) reaksi tokoh laki-laki dalam novel Cintaku di Kampus Biru karya Ashadi Siregar melihat usaha penyejajaran diri yang dilakukan tokoh perempuan, dan 3) sikap pengarang terhadap feminisme berdasarkan penyajian cerita di dalam Novel Cintaku Di Kampus Biru.   A study entitled “Penyejajaran Diri Tokoh Perempuan Novel Cintaku di Kampus Biru Karya Ashadi Siregar” discussed the feminism by describing gender aligment in the novel entitled Cintaku di Kampus Biru. The study was aimed at showing the female gender alignment was a part of a popular culture that was interesting to explore. Moreover, the problematic of the final degree college student as the character in the popular literature which has uniqueness that wasn’t in other novel novels was the love relationship between college students and college student or college student and their lecturer. So the purpose of this study is to analyze feminism in the novel Cintaku on Kampus Biru by Ashadi Siregar, written in 1972. The theories used in this study were feminism and gender alignment. This study resulted in several findings which exposed about: 1) The description of the woman character in the novel entitled Cintaku di Kampus Biru karya Ashadi Siregar as an effort to align herself with men, 2) The reaction of the man character in novel entitled Cintaku di Kampus Biru karya Ashadi Siregar when he noticed the effort of gender alignment that the woman did, and 3) The author’s attitude with feminism based on the presentation of the story in the novel entitled Cintaku di Kampus Biru. The benefits of this research are revealing feminism in Ashadi Siregar's novel Cintaku on Kampus Biru as well as being a reference for other researchers in studying feminism.

scholarly journals Maskuliniti yang Diruntuhkan Feminiti: Satu Penelitian Stereotaip Gender dalam Novel Seri Dewi Malam Karya Affifudin Haji Omar

2021 ◽  
Author(s):  
Wan Hasmah Wan Teh
Keyword(s):  
Cultural Context ◽  
Female Gender ◽  
The Novel ◽  
Female Representation ◽  
Female Authors ◽  
Male Characters ◽  
Second Sex ◽  
Feminist Ideology ◽  
Female Stereotypes ◽  
And Gender

Ideologi feminis menyumbang kepada fahaman bahawa lelaki dan perempuan dipengaruhi oleh pengalaman kehidupan yang berbeza ketika menghasilkan sesebuah karya kreatif. Feminis percaya bahawa pengarang lelaki tidak dapat menampilkan dimensi kejiwaan perempuan kerana mereka tidak pernah merasai pengalaman sebagai seorang perempuan. Ideologi seperti ini muncul sebagai tindak balas terhadap kebanyakan karya yang dihasilkan oleh pengarang lelaki yang sering mempersembahkan watak perempuan sebagai the second sex, terpinggir, bisu dan lemah dalam sistem sosial yang didominasi oleh lelaki. Walau bagaimanapun, tindakan pengarang lelaki ini tidak boleh dihukum kerana kegagalan mereka memahami dimensi perempuan yang berbeza dari diri mereka. Pencitraan perempuan daripada perspektif pengarang lelaki harus dilihat daripada konteks masyarakat dan budaya yang meletakkan stereotaip tertentu mengikut jenis kelamin. Bertitik tolak daripada fahaman tersebut, makalah ini mengupas konsep gender yang dibentuk oleh masyarakat sosial serta meneliti imej stereotaip lelaki yang dikenali sebagai gender maskulin dan imej stereotaip perempuan yang dikenali sebagai gender feminin. Hasil dapatan makalah ini mendapati pengarang novel Seri Dewi Malam telah mengubah fahaman pembaca tentang pengarang lelaki dalam mencitrakan imej perempuan dan menolak stereotaip sedia ada dengan menonjolkan imej positif yang dimiliki oleh watak Rohana sebagai gender feminin yang meruntuhkan stereotaip gender maskulin watak-watak lelaki di dalam novel.   The feminist ideology argues that the production of a creative work amongst male and female authors is defined by their specific life and gender experience. Feminists believe that male authors are unable to tap into the thoughts and emotional dimension of female authors because they have never experienced the life of a female. This argument emerged as a form of reaction towards the production of novels by male authors who often portray the female characters as ‘the second sex’, forsaken, tacit and weak in the male-dominated social system. Understandably, these prejudiced portrayals reflect their failure in understanding the female gender as a whole. Narrating the female from the male perspective thus has to be approached from the social and cultural context that gives rise to these stereotypes. This paper addresses the notion of gender from the perspective of society and explores the conceptual division between the male representation as ‘masculine' and female representation as ‘feminine’ in the novel Seri Dewi Malam. It argues that the author of the novel has managed to transform the female stereotypes by instilling more positive representations to the protagonist Rohana and her femininity in challenging the masculinity of male characters.

La Malinche at the Intersection: Race and Gender in Down These Mean Streets

PMLA ◽  
1998 ◽  
Vol 113 (1) ◽  
pp. 117-128 ◽  
Author(s):  
Marta E. Sánchez
Keyword(s):  
Puerto Rican ◽  
Female Gender ◽  
Gender And Sexuality ◽  
The Novel ◽  
Chicana Literature ◽  
Race And Gender ◽  
La Malinche ◽  
Race Ethnicity ◽  
And Gender ◽  
The 1960S

Piri Thomas's Down These Mean Streets (1967) challenges binary notions of whiteness and blackness by valorizing a third term—mestizaje. And yet the novel enlists dominant views of female gender and sexuality to affirm the protagonist's ethnic male identity. In my Chicana feminist reading of this Puerto Rican text, I import the reinterpreted figure La Malinche and its companion figure La Chingada—prevailing tropes in Chicano and Chicana literature and discourse of the 1960s—to illuminate the complex intersections of race, ethnicity, gender, sexuality, and class. These intersections are key to social analyses that transcend binary conceptions of race and paradigms of dominant and subaltern.

Queering Time: The Temporal Body as Queer Chronotope in Virginia Woolf’s Orlando

2020 ◽  
Vol 138 (1) ◽  
pp. 38-61
Author(s):  
Pooja Mittal Biswas
Keyword(s):  
Gender Identity ◽  
Virginia Woolf ◽  
Cultural Context ◽  
Female Gender ◽  
The Novel ◽  
Gender Performativity ◽  
Biological Sex ◽  
The Past ◽  
Gender Binary ◽  
And Gender

AbstractThis paper studies how the novel Orlando by Virginia Woolf deconstructs the male / female gender binary by deconstructing the past / future time binary. The protagonist’s sex change disrupts the linearity of ‘straight time’, in which the causality of gender is monodirectional, queer agency is impossible, and a false equivalency is drawn between gender identity and biological sex. The text instead leads Orlando (and the reader) away from straight time and into queer time, which is multidirectional, non-linear and non-heteronormative, and which unhitches gender identity at least partially from biological sex through a process that I call ‘gender lag’. This lag grants queer agency to Orlando in terms of his / her own gender identity and gender performativity. In exercising queer agency, Orlando’s changing body becomes a queer ‘chronotope’, that is, a queer expression of time and space within the narrative. Explored in the paper are the various means employed within the text to queer time and gender. The cultural context within which Orlando was written is also considered as a contributing factor to the subtextuality of its queerness. Finally, the text’s transgender connotations are analysed.

scholarly journals Language and Gender Representation in Chinua Achebe’s Things Fall Apart

2019 ◽  
Vol 12 (11) ◽  
pp. 55
Author(s):  
Blessing U. Ijem ◽  
Isaiah I. Agbo
Keyword(s):  
Female Gender ◽  
Gender Representation ◽  
Chinua Achebe ◽  
The Novel ◽  
The Unconscious ◽  
Male And Female ◽  
Language And Gender ◽  
The Social ◽  
Things Fall Apart ◽  
And Gender

This article examines the linguistic construction of gender in Chinua Achebe’s Things Fall Apart. It shows how this reflects the social reality of the relationships between women and men in society, which is firstly structured in the unconscious mind. The examination of language use in constructing genders in the novel is important as it unveils the relationships between the male and the female in society. This is because gender representation is influenced by unconscious and hidden desires in man. This study specifically examines Achebe’s use of grammatical categories in the construction of the male and female genders in Things Fall Apart. To this end, it reflects the pre-colonial Igbo society in its socially stratified mode, which language served as the instrument for both exclusion and oppression of women. This article shows that the male and female genders dance unequal dance in a socially, politically and economically stratified society where the generic male gender wields untold influence over women in that pre-colonial Igbo society. The study further shows that Achebe used language in Things Fall Apart to glorify masculine gender while portraying the female gender as docile, foolish, weak and irresponsible second-class citizen.

scholarly journals KETEGARAN TOKOH MELIA DALAM NOVEL DI SINI CINTA PERTAMA KALI BERSEMI KARYA MIRA W. DALAM DUNIA PENDIDIKAN

2015 ◽  
Vol 4 (2) ◽  
Author(s):  
Ikha Listyarini
Keyword(s):  
Popular Culture ◽  
Cultural Studies ◽  
Character Education ◽  
Extracurricular Activities ◽  
Popular Fiction ◽  
Popular Literature ◽  
Structured Learning ◽  
The Novel ◽  
Popular Art

Popular culture (popular culture) is the culture created by ordinary people with simple and intended for commercial purposes, so it can be enjoyed by the whole society. Popular culture (popular culture) is one part of the realm of cultural studies (cultural studies) because popular culture is also part of a culture that enrich the culture of any society. In the span of a long history, created a popular culture that has produced popular literature which has a high magnetic power to the audience of literary or lovers who simply looking for entertainment. Conditions that hit many aspects of life, not least in the literature. Originally came from the birth of popular art, which later developed into popular fiction stories circulating lately. In popular literature stories told not to show an intense problem, because if so, the popular literature will be heavy and can turn into serious literature.Novel Love it Here First Bersemi reached a circulation of 10,000 and suffered five reprints. After the success of his novel, Wim Umboh working on this novel into a film of the same title and was also sold in the market in the '80s with a cast-famous actor. This is one sign that the novel is a work of popular literature, which is reproduced through a variety of media. In this way, it is hoped this story can be enjoyed by the wider community, not just lovers of literature community.Kink is inside of Melia can be applied in education. Actualization of the value in the formation of character through education requires careful planning and mature so that the process and the results are as expected. Planting process in the formation of character values ?óÔé¼ÔÇ??óÔé¼ÔÇ?through education must be packaged well and that can be implemented through a structured learning, extracurricular activities, and the activities of governance (management). Given the character education is part and an integral part of the development of national character, the role of education is vital and has a major responsibility for generating human resources Indonesian character that can conduct a civilized nation of Indonesia.

scholarly journals THE ROMANCE FORMULA IN CECELIA AHERN’S LOVE, ROSIE

2020 ◽  
Vol 12 (2) ◽  
pp. 267-284
Author(s):  
Distania Santoso ◽  
Imam Basuki ◽  
L. Dyah Purwita Wardani
Keyword(s):  
Popular Culture ◽  
20Th Century ◽  
Cultural Background ◽  
The Novel ◽  
Writing Style ◽  
Love Relationship ◽  
Romance Plot ◽  
Sociocultural Background

This research analyzes the romance formula presented in Love, Rosie by discussing the standard convention of the novel. The romance formula analysis tends to prove what is the sociocultural background in 20th century of Ireland society which becomes the cultural background of the novel. We discuss the issues among popular culture and also finding out the dominant components of the story which builds the story into a romance story. The discussion is employed the Cawelti’s concept and supported by Radway’s theory of romance. This study discusses Romance formula in Love Rosie is presented by the two dominant elements, those are the romance plot formula and the characters. The inventions of the romance formula in Love Rosie is found in the writing style of the novel. The novel is written in the form of instant messages and letters that are sent between the hero and heroine. The results of this study indicate that Love, Rosie has two dominant elements that built the story into a romance story. The first element is the story plot and the second is the main characters of the story whom develops the love relationship in the story, which are the hero and the heroine. The story plot of Love, Rosie can be classified into four stages, those are the first meeting of Alex and Rosie, Alex and Rosie fall in love to each other, Obstacles which contain the internal and external conflicts of the hero and heroine, and the ending of the story.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Minorities in the Contemporary Egyptian Novel

2018 ◽  
Author(s):  
Mary Youssef
Keyword(s):  
Literary History ◽  
First Century ◽  
Nation State ◽  
Colonial Rule ◽  
The Novel ◽  
Robust Analysis ◽  
Specific Approach ◽  
And Gender ◽  
Context Specific ◽  
Historical Moment

This book examines questions of identity, nationalism, and marginalization in the contemporary Egyptian novel from a postcolonial lens. Under colonial rule, the Egyptian novel invoked a sovereign nation-state by basking in its perceived unity. After independence, the novel professed disenchantment with state practices and unequal class and gender relations, without disrupting the nation’s imagined racial and ethno-religious homogeneity. This book identifies a trend in the twenty-first-century Egyptian novel that shatters this singular view, with the rise of a new consciousness that presents Egypt as fundamentally heterogeneous. Through a robust analysis of “new-consciousness” novels by authors like Idris ᶜAli, Bahaᵓ Tahir, Miral al-Tahawi, and Yusuf Zaydan, the author argues that this new consciousness does not only respond to predominant discourses of difference and practices of differentiation along the axes of race, ethno-religion, class, and gender by bringing the experiences of Nubian, Amazigh, Bedouin, Coptic, Jewish, and women minorities to the fore of Egypt’s literary imaginary, but also heralds the cacophony of voices that collectively cried for social justice from Tahrir Square in Egypt’s 2011-uprising. This study responds to the changing iconographic, semiotic, and formal features of the Egyptian novel. It fulfills the critical task of identifying an emergent novelistic genre and develops historically reflexive methodologies that interpret new-consciousness novels and their mediatory role in formalizing and articulating their historical moment. By adopting this context-specific approach to studying novelistic evolution, this book locates some of the strands that have been missing from the complex whole of Egypt’s culture and literary history.

The Shop-Girl Revolutionary in Henry James's The Princess Casamassima

2008 ◽  
Vol 63 (2) ◽  
pp. 197-222 ◽  
Author(s):  
Katherine Mullin
Keyword(s):  
Popular Culture ◽  
Social Change ◽  
The Sun ◽  
The Novel ◽  
Local Color ◽  
Literary Naturalism ◽  
Public House ◽  
Revolutionary Politics ◽  
Critical Attention ◽  
Marginal Characters

Abstract This essay argues that the complex political resonances of Henry James's The Princess Casamassima (1886) can be further elucidated through closer critical attention to one of its more marginal characters, the shop-girl Millicent Henning. Ebullient, assertive, and, for many early reviewers, the novel's sole redeeming feature, Millicent supplies the novel with far more than local color. Instead, James seizes on a sexual persona already well established within literary naturalism and popular culture alike to explore a rival mode of insurrection to that more obviously offered elsewhere. While the modes of revolution contemplated by Hyacinth Robinson and his comrades in the Sun and Moon public house are revealed to be anachronistic and ineffectual, Millicent's canny manipulation of her sexuality supplies her with an alternative, effective, and unmistakably modern mode of transformation. The novel's portrait of ““revolutionary politics of a hole-and-corner sort”” is thus set against Millicent's brand of quotidian yet inexorable social change.

Sign in / Sign up

Export Citation Format

Share Document