PSK DALAM FRAMING TIGA MONOLOG/PROSTITUTE ON THREE MONOLOGUES FRAMING

Abstrak Makalah berjudul “PSK dalam Framing Tiga Monolog” ditulis untuk membahas tokoh PSK dalam ketiga monolog yang bertemakan kehidupan PSK, yaitu Monolog Tanda Tanya (Anggi Eka Putri), Monolog Pelacur (Putu Wijaya), danMonolog Cahaya (Lenny Koroh dan Silvester Hurit). Penelitian dalam makalah tersebut dibatasi pada penampilan tokoh PSK dalam ketiga monolog, pembahasan PSK berdasarkan konsep framingdan representasi, serta sikap lingkungan terhadap tokoh PSK. Penelitian ini merupakan kualitatif dengan metode analisis deskriptif komparatif pada ketiga monolog. Konsep teoretis yang digunakan dalam penelitian ini adalah framing Pan Konscki, serta representasi Hall. Berdasarkan penelitian diperoleh hasil berikut: (1) PSK yang ditampilkan dalam ketiga monolog ditunjukkan sebagai perempuan yang terjerumus. Tokoh PSK mudah terjerumus ke dalam dunia hitam, tetapi sulit keluar dari dunia tersebut; (2) Berdasarkan hasil framing dan representasi, tokoh PSK merupakan korban yang tidak mampu mengatasi dampak pelecehan seksual atau pemerkosaan. Kekecewaan berkepanjangan tidak pernah teratasi karena tokoh PSK dipertemukan dengan lingkungan atau pihak yang berkompeten menjerumuskan perempuan itu di dunia hitam, misalnya teman atau kekasih. Konflik dengan sosok ayah juga dianggap sebagai pencetus utama tercetusnya seorang perempuan ke dunia hitam; serta (3) sikap lingkungan terhadap tokoh PSK menunjukkan bahwa dunia hitam para PSK bukan dunia yang ramah. PSK tidak dapat ke luar dari dunia tersebut dengan mudah sementara ia harus bertanggung jawab untuk kehidupan anggota keluarganya. Selain itu, ia harus menanggung risiko besar selama menjalani profesinya, tanpa perlindungan apa pun. PSK bukan saja mengalami kesulitan di dunianya sendiri, melainkan pula di dunia luar. Lingkungan sosial sulit menerima eksistensi mereka, bahkan cenderung merendahkan. Tidak jarang lingkungan sosial dapat menjadi pencetus atau pendukung terjerumusnya seorang perempuan menjadi PSK. Kata kunci: PSK, framing, pelecehan, korban Abstract"PSK in Framing of Three Monologues" discussed prostitute figures on the three prostitute themed monologues: Monolog Tanda Tanya (Anggi Eka Putri), Monolog Pelacur (Putu Wijaya), dan Monolog Cahaya (Lenny Koroh dan Silvester Hurit). The research was limited to (1) the appearance of prostitute figures in all three monologues, (2) prostitute discussions based on the result of framing and representation, also (3) environmental reactions towards prostitutes. This research is qualitative with a comparative descriptive analysis method on all three monologues. The theoretical concept used in this research was Pan Konscki’s framing, as well as Hall representation of the. The result was below. First, PSK displayed in all three monologues was shown as women who were extremely trapped. PSK figures easily fell into the site, but were difficult to get out from. Second, based on the framing and representation, prostitute figures were victims who were unable to cope with the effects of sexual harassment or rape. Prolonged disappointment had never been resolved because they met with the environment or the competent party plunged them into such world, such as friends or lovers. Conflict with a father figure was also considered as the main originator of the emergence of a woman into the sit. Three, the environmental attitude towards the prostitute shew that the surroundings of prostitutes were not a friendly world. They won’t let to be out of it easily while, on the other hand, they had to be responsible for the lives of their family members. In addition, they were close to high-risks of their profession, without any protection. Prostitutes were not only experience difficulties in their own world, but also in the outside world. The social environment also hardly accepted their existence, even tends to be condescending. Sometimes, it could be the originator or supporter of a woman becoming a prostitute. Keywords: prostitute, framing, harrashment, victims

Trails of Cultural Memory: Rediscovering Shylock as a Father Figure in the 21st Century

Given that in the last few decades theories of adaptation have advanced enormously, with such names as Linda Hutcheon setting the theoretical premise of these ideas, it is essential to see how certain aspects present in canonical texts have been translated into present-day literature. In this paper, I discuss how the father-daughter relationship in The Merchant of Venice by William Shakespeare, has been (re)interpreted through the carrying of similar characters and situations in the novel Shylock Is My Name by Howard Jacobson. The novel does not only serve as a means of projecting old ideas as new, but it also provides the stage of resolution for such prominent characters as Shylock. In order to have a broader understanding of the (re)interpreted father-daughter relationship, this chapter will take into account the sociological symbolism of the contemporary text, with Erik Erikson’s descriptions of adolescence in the foreground.

Towards an Ethical Aestheticism: Christianity, Christhood and Martyrdom in the Fiction of Oscar Wilde

<p>Oscar Wilde is part of our world. With his dandyish witticisms and decadent demeanour, he continues to serve as a model of subversive grace, an aesthetic beacon drawing his readers towards a lighthouse of beauty, even more than a century after his death. Few would suspect that Wilde’s work should offer any ethical guidance, given the tendency of fin-de-siècle aestheticism to place artistic beauty above ethical concerns. It is the purpose of this thesis to argue otherwise. The aim of this thesis is twofold. First, it intends to show that Wilde’s fiction, from his early fairy stories to his only novel, The Picture of Dorian Gray, is connected by a common interest in Christian ethics. Second, and more ambitiously, it intends to disprove the notion that aestheticism and ethics are irreconcilable. Throughout his work, Wilde develops an image of an aesthetic Jesus Christ, a martyr of beauty. Wilde dedicates much of his fictional oeuvre to illustrating this vision of Christ, usually through martyrdom and the relinquishment of selfhood. In doing so, this thesis argues that he connects artistic beauty with Christian ethics, synthesising an ethical aestheticism, only achievable through self-sacrifice in service of love – the aesthetic ideal. This kind of aesthetic martyrdom is present throughout Wilde’s fiction, the most commonly cited examples coming from two of his early fairy stories, “The Happy Prince” and “The Nightingale and the Rose” respectively. In these stories, the titular characters work to realise the vision of the aesthetic Christ – what this thesis calls his ‘aesthetic ideal’ – and achieve a higher appreciation of beauty, both bodily and immaterial. Christianity, this thesis finally argues, is the basis for Wilde’s ethical aestheticism and it is Christian ethics that Wilde uses to orientate his readers towards aesthetic Christhood, not with the cold, judging hand of a Victorian preacher but the warm, caring shoulder-pat of an aesthetic father-figure.</p>

Towards an Ethical Aestheticism: Christianity, Christhood and Martyrdom in the Fiction of Oscar Wilde

<p>Oscar Wilde is part of our world. With his dandyish witticisms and decadent demeanour, he continues to serve as a model of subversive grace, an aesthetic beacon drawing his readers towards a lighthouse of beauty, even more than a century after his death. Few would suspect that Wilde’s work should offer any ethical guidance, given the tendency of fin-de-siècle aestheticism to place artistic beauty above ethical concerns. It is the purpose of this thesis to argue otherwise. The aim of this thesis is twofold. First, it intends to show that Wilde’s fiction, from his early fairy stories to his only novel, The Picture of Dorian Gray, is connected by a common interest in Christian ethics. Second, and more ambitiously, it intends to disprove the notion that aestheticism and ethics are irreconcilable. Throughout his work, Wilde develops an image of an aesthetic Jesus Christ, a martyr of beauty. Wilde dedicates much of his fictional oeuvre to illustrating this vision of Christ, usually through martyrdom and the relinquishment of selfhood. In doing so, this thesis argues that he connects artistic beauty with Christian ethics, synthesising an ethical aestheticism, only achievable through self-sacrifice in service of love – the aesthetic ideal. This kind of aesthetic martyrdom is present throughout Wilde’s fiction, the most commonly cited examples coming from two of his early fairy stories, “The Happy Prince” and “The Nightingale and the Rose” respectively. In these stories, the titular characters work to realise the vision of the aesthetic Christ – what this thesis calls his ‘aesthetic ideal’ – and achieve a higher appreciation of beauty, both bodily and immaterial. Christianity, this thesis finally argues, is the basis for Wilde’s ethical aestheticism and it is Christian ethics that Wilde uses to orientate his readers towards aesthetic Christhood, not with the cold, judging hand of a Victorian preacher but the warm, caring shoulder-pat of an aesthetic father-figure.</p>

Collapse of the Ideal in Arthur Miller’s All My Sons

Idealism is a pivotal motto of the propaganda led and announced by America's pursuit of the dream since its establishment in the new world, but what has emerged as a dream has ended up as an illusion. The aim of this paper is to expose how Arthur Miller portrays the collapse of the ideal father figure in an exemplary American family at the time when the pursuit for personal and familial betterment was used to disguise materialistic corruption and egoistic thirst for social mobility in American society at the expense of values and ethics.

Aligning with Sociopaths: Character Engagement Strategies in Highsmith’s and Minghella’s Talented Mr. Ripleys

Patricia Highsmith’s stated reason for writing The Talented Mr. Ripley (1955) was to see if she could elicit empathetic engagement for her immoral protagonist Tom Ripley. Amongst other factors, she achieves her goal by allowing readers to align affectively with the protagonist’s road to self-discovery. Her experiment culminates with Tom’s fruition into an aggressive consumer, thus resolving his and the readers’ apprehensions. On the other hand, Anthony Minghella’s Ripley leaves more room for interpretation. In his interviews, the filmmaker states that he does not aim for his protagonist to remain the sociopath from Highsmith’s novel. Instead, his story explores the absence of a father figure and how it affects his main characters. Consequently, he frames Tom as an underprivileged youth whose emotional instability brings about his demise. To this end, he employs victimization scenes, as well as moral disengagement cues. I argue that, amongst other factors, such an application of an industry-tested design of emphatic concern elicitation obscures the filmmaker’s initial intent. As a result, Minghella’s Tom can be seen as a manipulative sociopath, as well as a victimized tragic hero.

‘For “feather” read “father”’: Death and Possibility in Paul Muldoon’s Paternal Elegies

Focused on Muldoon's father elegies written between his debut collection New Weather and Hay, the present essay argues that these poems evoke paternal death as the founding moment of poetic expression. Only when the father figure has passed away is the space for poetic expression implicitly made available to the son, so that the elegies from ‘The Waking Father’ all the way to ‘The Bangle (Slight Return)’ seek to reimagine the father figure as a poetic construct open to reinterpretation beyond the confines of his factual existence. In effect, the poem, as a locus of unconstrained revision of the self, becomes a consoling act that works only insofar as the poem manages to elude closure.

Relationship Pattern of Fatherless Impacts to Internet Addiction, the Tendency to Suicide and Learning Difficulties for Students at SMAN ABC Jakarta

Fatherless is the absence of a father figure. Some impacts of fatherlessness are loneliness, openness, depression, self-control, and self-esteem. These factors can influence internet addiction and suicidal tendencies. It also can cause difficulty in the learning process for students. This study aims to determine the significant impacts caused by fatherlessness and the relation to internet addiction, suicidal tendencies, and learning difficulties. The method used is Partial Least Square. The results showed that the significant impacts caused by fatherlessness are loneliness, depression, and self-esteem. The impacts of fatherless that influence internet addiction are loneliness and depression. The impact of fatherlessness that influences suicidal tendencies is depression. Internet addiction and suicidal tendencies influence learning difficulties.