scholarly journals PEREMPUAN DALAM NOVEL DAKWAH: KAJIAN KARYA ASMA NADIA DALAM PERSPEKTIF HALL

2017 ◽  
Vol 6 (1) ◽  
pp. 1
Author(s):  
Maycherlita Supandi
Keyword(s):  
Gender Equality ◽  
Female Character ◽  
The Novel ◽  
Female Characters ◽  
Sacred Texts ◽  
Stuart Hall

Abstrak: Artikel ini berfokus pada bagaimana karakter-karakter perempuan ditampilkan di dalam novel dakwah karya Asma Nadia untuk mengkaji eksistensi pengarang dan karyanya dalam ranah kultural dan agama. Fokus artikel ini adalah 1) bagaimana tokoh perempuan direpresentasikan di dalam novel Assalamualaikum Beijing dan Surga Yang Tak Dirindukan, 2) apa makna yang ditandai dengan posisi tokoh perempuan di dalam novel Assalamualaikum Beijing dan Surga Yang Tak Dirindukan. Artikel ini menggunakan teori representasi Stuart Hall dan menunjukkan bahwa terlepas dari semangat kesetaraan gender yang digemakan Forum Lingkar Pena, perempuan masih direpresentasikan dengan karakter-karakter nilai patriarki dan itu berarti makna nilai liberation dan equality yang dipegang oleh Asma Nadia masih berlandaskan tafsir klasik atas teks-teks suci agama Islam. Dengan begitu, nilai persamaan yang dimaksudkan menjadi semangat karya-karyanya, tidak tercermin dalam ranah mikro di dalam Narasi yang dibangun Asma Nadia.Kata-kata Kunci: Asma Nadia, Novel Dakwah, Forum Lingkar Pena, Stuart Hall, Representasi Abstract: This article focuses on how female characters are featured in Asma Nadia's da’wah novels to study the existence of author and her works in the cultural and religious realm. The focus of this article is 1) how the female character is represented in the novel Assalamualaikum of Beijing and the Surga Yang Tak Dirindukan, 2) what is the significance marked by the position of female characters in the novel Assalamualaikum Beijing and Surga Yang Tak Dirindukan. This article uses Stuart Hall’s theory of representation and shows that apart from the spirit of gender equality echoed by the Pen Circle Forum, women are still represented by patriarchal characters and that means the value of liberation and equality held by Asma Nadia is still based on the classical interpretation of Islamic sacred texts. That way, the value of the equation which is meant to be the spirit of the Asma Nadia’s works, is not reflected in the micro-realm within the Narration built by Asma Nadia.Keywords: Asma Nadia, Da’wah Novels, Forum Lingkar Pena, Stuart Hall, Representation

CULTURAL IDENTITY AND SYMBOLIC INTERACTIONISM IN KARMA BROWN’S NOVEL “RECIPE FOR A PERFECT WIFE”

2021 ◽  
Vol 8 (2) ◽  
Author(s):  
Alia Afiyati ◽  
Divya Widyastuti ◽  
Yoga Pratama
Keyword(s):  
Cultural Identity ◽  
Symbolic Interactionism ◽  
Literary Work ◽  
Cultural Identities ◽  
George Herbert ◽  
The Novel ◽  
Female Characters ◽  
George Herbert Mead ◽  
The Past ◽  
Stuart Hall

In a literary work, two characters can be narrated as the attention center that contains the cultural identity from certain generation. Meanwhile, a symbol actually can cause an interaction within characters. This research discusses about cultural identity and symbolic interactionism reflected in a novel. There is a novel entitled “Recipe for a Perfect Wife” by Karma Brown that tells about two female characters that are represented as a housewife from different generation. This research uses descriptive qualitative as the research methodology and content  analysis as the method in analyzing the object of the research, a novel entitled “Recipe for a Perfect Wife”. This research also uses the intrinsic approach to analyze the characterization, plot, and setting. This research reveals two kinds of a housewife. They are a housewife and working woman, and a full-housewife. This research finds five cultural identities in the past and present time that is related with a housewife reflected by two female characters in the novel by using cultural identity theory by Stuart Hall. This research also reveals the symbol and memory even three concepts of symbolic interactionism that is mind, self, and society based on symbolic interactionism theory by George Herbert Mead.

scholarly journals REPRESENTASI NAGA PADA TOKOH PEREMPUAN DALAM NOVEL GELANG GIOK NAGA (The Representation of Dragon of Women Character in Gelang Giok Naga)

2016 ◽  
Vol 6 (1) ◽  
pp. 45
Author(s):  
Resti Nurfaidah
Keyword(s):  
The Novel ◽  
Female Characters ◽  
Imaginary World ◽  
Stuart Hall

Naga merupakan hewan yang paling istimewa di antara kedua belas simbol hewan dalam penanggalan Cina. Jika binatang lain masih dapat dilihat dalam kehidupan nyata, naga merupakan hewan yang imajiner. Namun, naga dianggap sebagai sumber peruntungan yang luar biasa. Tahun naga dianggap sebagai tahun keberuntungan. Hanya saja, keberuntungan tersebut tidak lantas mengundang risiko kehancuran yang tidak kalah dahsyatnya. Novel Gelang Giok Naga  mengungkapkan representasi keagungan naga pada serangkaian tokoh perempuan. Perempuan-perempuan yang digambarkan dalam novel tersebut adalah perempuan yang pada awalnya mampu meraih keberuntungan dengan caranya sendiri, tetapi dalam kurun waktu tertentu mendapati kehancuran. Makalah berikut, dengan penggunaan teori representasi dari Stuart Hall, memaparkan representasi naga pada beberapa tokoh perempuan dalam novel Gelang Giok Naga. Tokoh perempuan itu dianggap merepresentasikan karakter naga dengan segala konsekuensinya.Abstract:Dragon is the most special animal among  twelve symbolical animals in the Chinese calendar. If other animals are found in the reality, the dragon is only  found in an imaginary world. However, it is considered as a source of the incredible fortune. The year of the dragon is considered a lucky year. Nevertheless, the luck  does not mean to give an incredible risk. Gelang Giok Naga novel reveals the representation of the dragon greatness on its female characters. The women in the novel are those  who initially got their great fortune in their own way, yet in the end they got  a certain period of  falling. The paper, applying the theory of the Stu ar t Ha ll ’s  repres en ta ti on , presents the dragon  representation on those female characters in in the novel. The women character is considered representing the dragon character with its consequences.

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 Supremasi Perempuan Dalam Novel Renjana Dyana Karya Adimodel : Kajian Feminisme Radikal

2021 ◽  
Vol 2 (2) ◽  
pp. 164
Author(s):  
Fadhlur Rahman ◽  
Juanda Juanda ◽  
Suarni Syam Saguni
Keyword(s):  
Radical Feminism ◽  
Economic Conditions ◽  
Female Character ◽  
The Novel ◽  
Female Characters ◽  
Male Power ◽  
Data Source ◽  
Descriptive Qualitative

This study aims to describe the form of supremacy shown by female characters and the factors that cause female characters to become radical in the novels being analyzed. This research is descriptive qualitative in nature. The data of this research are in the form of words, phrases, sentences, and paragraphs that reveal the contents of the story in the novel. The data source of this research is the novel Renjana Dyana by Adimodel published by Elex Media Komputindo in 2015. The approach used is the study of radical feminism. The results of this study indicate that first, the form of supremacy shown by the female character in the novel Renjana Dyana is the effort of the Dyana character to make a change in society to end and destroy all male power which is represented in the form of freedom of attitude, action and thought as well as character courage. Dyana takes a fight against men from the aspect of sexuality. Second, apart from women's supremacy, there are factors that cause female characters in Adimodel's Renjana Dyana to become radical, triggered by three factors, namely patriarchy, religion, and economic conditions.

scholarly journals The Concept of Tazkiyah Al-Nafs in the Female Character in the Novel The Missing Piece

2011 ◽  
Vol 24 (1) ◽  
pp. 85-108
Author(s):  
Nur Lailatul Akma Zainal Abidin ◽  
◽  
Kamariah Kamarudin
Keyword(s):  
Women's Writing ◽  
Female Character ◽  
General Character ◽  
The Novel ◽  
Human Beings ◽  
Female Characters ◽  
Women Authors ◽  
Relationship Of ◽  
The Relationship ◽  
Women’S Writing

This study aims to analyse the elements of tazkiyah al-nafs (purification of the soul) in the novel The Missing Piece: Part One and Part Two . In general, character studies discuss three important aspects, one of which is the spiritual. In this study, the researcher will lay emphasis on the message of spirituality depicted by the author through the female character in the novel. This spiritual message can be traced in the elements of spiritual purification ( tazkiyah al-nafs ). In the novel The Missing Piece , elements of tazkiyah al-nafs will be classified in terms of two relationships; the relationship of humans with Allah ( habl min Allah ) and the relationship of human beings with one another ( habl min al-nas ). Based on this concept of tazkiyah al-nafs , the female character in the novel The Missing Piece in both parts one and two, can be seen to convey a number of spiritual messages that make up aspects of female personality in Islam. This includes aspects of aqidah (creed) and ibadah (worship) in line with spiritual concepts and suggestions for the process of the purification of the soul ( tazkiyah al-nafs ). The potential of women authors in the field of Islamic spirituality needs to be given attention, apart from emphasizing moral issues and the quality of female characters. This can also be seen as an effort to elevate women’s writing to be on par with the men’s; it can, in fact, make women’s writing a guide for the formation of an exceptional ummah (Islamic community). Keywords: Tazkiyah al-nafs , female characters, women’s writing, relationship of humans with Allah, relationship of humans with one another.

scholarly journals MITOS TOKOH PEREMPUAN LAKON ABDULMULUK JAUHARI TEATER DULMULUK TUNAS HARAPAN

2018 ◽  
Vol 15 (2) ◽  
Author(s):  
Tri Puji Handayani ◽  
I Nyoman Murtana
Keyword(s):  
Women Leaders ◽  
Gender Equality ◽  
Gender Ideology ◽  
Roland Barthes ◽  
Female Character ◽  
Female Characters ◽  
Cultural Symbols ◽  
Female Figure ◽  
Hair Style ◽  
Semiotic Theory

<p>Penelitian berjudul “Mitos Tokoh Perempuan Lakon Abdulmuluk Jauhari Teater Dulmuluk Tunas Harapan” ini menganalisis tentang tokoh perempuan yang dimainkan oleh aktor laki-laki dan mitos tokoh perempuan dalam lakon Abdulmuluk Jauhari. Dengan menggunakan teori semiotika untuk menjawab permasalahan tersebut maka peneliti membuat pertanyaan dalam rumusan masalah yang berkaitan dengan: bagaimana materi mitos wicara tokoh perempuan dalam lakon Abdulmuluk Jauhari pertunjukan teater Dulmuluk kelompok Tunas Harapan. Penelitian ini menggunakan teori semiotika Roland Barthes untuk melihat analisis tokoh perempuan dalam lakon Abdulmuluk Jauhari. Hasil penelitian ini memberikan pemahaman yaitu (1) Tokoh perempuan yang dimainkan oleh aktor laki-laki menampilkan sosok perempuan dengan menggunakan kostum, make-up, hair style, gerak dan nada yang menyerupai perempuan. Tunas Harapan dalam menampilkan tokoh perempuan melalui aktor laki-laki memiliki simbol-simbol kebudayaan yang disampaikan melalui tokoh perempuan. (2) Tunas Harapan menampilkan tokoh perempuan berdasarkan ideologi gender yang menghadirkan mitos perempuan, yaitu perempuan sebagai kesetaraan gender, perempuan sebagai sosok pemberani, perempuan sebagai sosok penguasa, dan perempuan sebagai penyelamat.</p><p>Kata kunci: Teater Dulmuluk, Tokoh Perempuan, Mitos.</p><p><br />The research entitled “ Mitos Tokoh Perempuan Lakon Abdulmuluk Jauhari Teater Dulmuluk Tunas Harapan “ analyzed the female characters played by male actors and the myth of a female character in Abdulmuluk Jauhari’s play. By using semiotic theory to answer these problems, the researcher makes a question in the formulation of the problem related to: how is the material of the myth of the talk of female characters in Abdulmuluk Jauhari’s play Dulmuluk theater group Tunas Harapan. This study uses Roland Barthes’s semiotic theory to look at the analysis of female characters in Abdulmuluk Jauhari’s play. The results of this study provide understanding, namely (1) The female figure played by male actors displays a female figure using costumes, make-up, hair styles, movements and tones that resemble women. Tunas Harapan in presenting female characters through male actors has cultural symbols conveyed through female characters. (2) Tunas Harapan presents women leaders based on gender ideology that presents myths of women, namely women as gender equality, women as brave figures, women as figures of rulers, and women as saviors.</p><p>Keywords: Theater Dulmuluk, Female Leader, Myth.</p>

scholarly journals Search for Identity: A Study of Female Characters in Anita Desai’s Fire on the Mountain

2019 ◽  
Vol 7 (12) ◽  
pp. 8
Author(s):  
Tejaswini Behera
Keyword(s):  
Physical Violence ◽  
Female Character ◽  
The Novel ◽  
Female Characters ◽  
The Family ◽  
The World ◽  
Long Life ◽  
The One ◽  
In Fire

The three leading female characters in the novel Fire on the Mountain(1977) are searching for their identity till the end of the novel. All of them are victims of various kinds. Nanda, though not a victim of direct physical violence, has certainly been a victim of her husband’s indifference and of the family that has taken her for granted all her long life. Due to which she has finally decided to live a lonely life in Carignano. Ila Das in her own way for searching for her identity becomes the most obvious victim of violence in her own death by murder. Raka though a child searches for her identity due to the brutal and indifferent nature of her parents. She is a victim of the world of her parents that she is born to. But she is the one female character in the novel who is aware of the violence and finally get s the solution by setting the forest in fire.  

scholarly journals Representasi Feminisme dalam Novel Nayla Karya D.Jenar Maesa Ayu

ATAVISME ◽  
2009 ◽  
Vol 12 (2) ◽  
pp. 127-136
Author(s):  
Agung Pramujiono
Keyword(s):  
Key Words ◽  
Research Data ◽  
Professional Women ◽  
Radical Feminism ◽  
Female Character ◽  
The Novel ◽  
Main Character ◽  
Female Characters ◽  
The One ◽  
Women Rights

Penelitian ini bertujuan mendeskripsikan secara objektif representasi feminisme dalam novel Nayla karya Djenar Maesa Ayu. Data penelitian adalah perataan, perbuatan, dan peristiwa yang dialami oleh tokoh utama, Sumber data penelitian adalah novel Nayla karya Djenar Maesa Ayu edisi kedua yang diterbitkan oleh Gramedia pada tahun 2005. Data dikumpulkan mclalui teknik dokumentasi dan dianalisis secara deskriptif. Berdasarkan analisis data, dapat disimpulkan bahwa Nayla adalah sebuah novel dengan pengarang yang secara sadar ingin memperjuangkan hak-hak perempuan, terutama yang berkaitan dengan seksualitas. Tokoh pcrempuan dalam Naylai adalab seorang perempuan superior, bukan inferior, seorang perempuan yang 'mendominasi' laki-laki, bukan yang 'didominasi' oleh laki-laki. Pengarang juga berusaha untuk mengangkat posisi perempuan dengan menghadirkan seorang karakter perempuan yang menemukan kesadaran akan eksistensi diri, menyadari makna kebidupan dan hidup. Para tokohnya adalah perempuan- perempuan profesional yang bahkan dapat disejajarkan dengan para laki-laki. Mereka adalah tokoh perempuan yang jarang mengurusi urusan rumah tangga Terkait dengan seksualitas, sang tokoh (si pengarang) berpendapat bahwa perempuan tidak selayaknya diperlakukan sebagai objek semata, retapi seharusnya juga memiliki kesempatan untuk bersenang-senang dan disenangkan. Abstract: This research aims to describe objectively the representation of feminism in the novel Nayla by Djenar Maesa Ayu. The research data are speeches, actions, and happenings experienced by the main character. The source of the data was the novel Nayla by Djenar Maesa Ayu second edition published by Gramedia in 2005. The data were collected through documentation technique and analyzed descriptively. Based on the analysis of the data, it could be concluded that Nayla was a novel whose author consciously wished to struggle for women rights, especially those related to sexualities. The female character in Nayla is a superior woman, not an inferior one; a female who 'dominates' males, not the one who 'is dominated' by males. 'The author also strives to raise women's positions by presenting a female character who has found a consciousness of self-existence, realized the meanings of life and living. The characters are professional women who can even be equalized with men. 'They are female characters who seldom take care of domestic households. Related to sexualities, the character (the author) has the opinion that women should not have been treated as objects only, but should also have been given opportunities to enjoy themselves and to be spoiled. Key Words: representation of feminism, radical feminism

Hubungan Intertekstual Novel Candra Kirana dan “Tjerita Panji Angreni”: Perspektif Riffaterre

ATAVISME ◽  
2020 ◽  
Vol 23 (1) ◽  
pp. 104-116
Author(s):  
Muhammad Rosyid H.W.
Keyword(s):  
Content Analysis ◽  
Gender Equality ◽  
The Novel ◽  
Main Character ◽  
The People

Penelitian ini bertujuan membahas hubungan intertekstual novel Candra Kirana karya Ajip Rosidi dengan "Tjerita Panji Angreni". Unsur apa saja dan bagaimana novel Candra Kirana memiliki hubungan intertekstual dengan "Tjerita Panji Angreni' sebagai teks hipogramnya adalah pertanyaan penelitian ini. Dalam menelaah hubungan intertekstual ini, penulis menggunakan teori intertekstual Michael Riffaterre yang menitikberatkan pada analisis isi dengan metode pembacaan heuristik dan hermeneutik. Temuan penelitian ini adalah bahwa novel Candra Kirana menunjukkan hubungan intertekstual dengan Tjerita Panji Angreni melalui unsur tema, citra tokoh, dan alur cerita. Meskipun demikian, novel Candra Kirana juga mentransformasikan makna-makna progresif yang berbeda dengan "Tjerita Panji Angreni", seperti makna nasionalisme yang berupa cinta akan kerajaan, makna kesetaraan gender yang berupa kesetiaan laki-laki, keberanian, kekuatan, perjuangan dan ketidakpasrahan perempuan, makna kerakyatan dengan pelibatan tokoh utama dari kalangan rakyat dan makna religiusitas yang berbentuk dasar niat Panji dalam mencari pasangan hidup.[Intertextuality on Novel Candra Kirana and "Tjerita Panji Angreni": Riffaterres Perspective] This research aims to discuss the intertextuality of Candra Kirana novel by Ajip Rosidi with "Tjerita Panji Angreni". What elements and to what extend Candra Kirana novel has an intertextual relationship with Tjerita Panji Angreni as the hipogram text were the questions of this research. In examining this intertextual relationship, the writer used Michael Riffaterre's intertextual theory which focused on content analysis with heuristic and hermeneutic readings. The findings of this study were that the novel Candra Kirana showed intertextuality with the "Tjerita Panji Angreni" through elements of themes, character images, and story lines. Even so, Candra Kirana's novel also transformed progressive meanings that differ from the Tjerita Panji Angreni such as the meaning of nationalism in the form of love for the kingdom, the meaning of gender equality in the form of male loyalty, courage, strength, struggle and women's insecurity, the meaning of populist with engagement the main character of the people and the meaning of religiosity in the form of Panji's intention in finding a life partner.Keywords: intertextuality; novel; "Tjerita Panji Angreni"

Sub-version of Myth: Portrayal of Karna’s two wives in Kavita Kane’s Karna’s Wife

2019 ◽  
Vol 5 (4) ◽  
pp. 277-292
Author(s):  
Yashika Bisht ◽  
Shweta Saxena
Keyword(s):  
The Novel ◽  
Female Characters

Karna’s Wife is the first work of the writer, Kavita Kane who is “trying to portray a small chunk, a small aspect which has not been dealt with yet” in the Mahabharata. In Karna’s Wife, Kavita Kane portrays female characters like Uruvi and Vrushali who are victims at the hands of men and fate and how they still balance their lives and endure it all. Vrushali is the first wife of Karna and her husband married Uruvi and was deeply in love with her. Her rights, his attention, his love, everything is distributed. Uruvi who is Karna’s second wife is constantly seen striving throughout the novel to keep her husband away from Duryodhana’s evil camaraderie because she fears that this alliance will certainly lead to her husband’s catastrophe. It would be very interesting to see how these two women have come out of these gritty situations, faced the veracity and still lived mightily.

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