An Ode to Black British Girls

This article delves into Michaela Coel’s Chewing Gum, examining how the cultural text builds upon Black feminist media discourse, and intimately grapples with the nuances of Black women’s sexuality while explicitly challenging misogynoir. This work illustrates how Coel is helping develop a Black British cultural aesthetic that centers Black women’s liberation, specifically from an African immigrant perspective, by using satire, all the beauty, pain, and struggles that come with #blackgirlmagic, eccentric adornments, and ‘awkward’ ostentatious characters that at times play into racist images and tropes of Black womanhood to expose the absurdity of life in an anti-Black, sexist, and xenophobic society. In sum, this article understands Coel’s work in Chewing Gum to be Black girl surrealism – the intersection of Afro-surrealism, British dark comedy, and Black feminism.

Konten Prank Sebagai Krisis Moral Remaja di Era Milenial Dalam Pan-dangan Psikologi Hukum dan Hukum Islam

Fenomena degradasi moral ini malah terjadi di era milenial. Sungguh ironis sekali, di era modern yang berkembang pesat justru banyak remaja yang moralnya merosot. Prank merupakan salah satu bentuk dark comedy yang dapat membuat penonton merasa terhibur dan tertawa lepas. Sekilas tayangan tersebut bersifat menghibur penonton, akan tetapi justru belakangan ini menimbulkan banyak kecaman dari penonton. Konten yang seharusnya berisi tayangan yang menghibur, justru dinilai keterlaluan dan menimbulkan kemarahan bagi para penonton. Salah satu kasus yang hangat terjadi adalah konten Ferdian Paleka yang membuat prank kepada para waria. Hal ini menimbulkan pertanyaan besar, mengapa tindakan seperti itu terjadi? Bagaimana hukum Islam memandang hal ini? Dua pertanyaan inilah yang akan penulis gunakan untuk menganalisis konten prank tersebut. Hasil yang didapat adalah, konten tersebut dibuat oleh sang creator demi like dan subscribe akun media sosial mereka yang akan berpengaruh kepada pengakuan masyarakat kepadanya. Selain itu mereka mempunyai kecenderungan perilaku antisosial di dalam masyarakat sehingga melakukan tindakan seperti itu. Di dalam hukum Islam pun dilarang melakukan prank yang akan menimbulkan kemarahan, kekecewaan karena menyinggung perasaan orang lain sebagai korban. Sudah banyak aturan yang melarangnya, baik dalam Al-Quran maupun Hadits untuk melakukan prank yang membuat orang lain tersinggung.

The era of virtual reality in medical education: do we still need the dissection table?

For the benefit of the uninitiated, the MBBS course begins with the three basic subjects, anatomy, physiology and biochemistry. Of these, the most intensive and gruelling for most is the subject of anatomy. And within the said subject, the most demanding is the human dissection table. It can even be considered as the ultimate icon of initiation into medical education. It has tragedy, dark comedy and drama in different measures. The image of young students huddled around a shrivelled human body, usually referred to medically as a ‘Cadaver, on a non-descript table, ever endures in mind of all doctors, for better or worse. This happens in a hall ever filled by the suffocating smell of formalin and the dread of the watchful eye of demonstrators trained like hounds. The course in anatomy is split into different sections on limbs, thorax, abdomen, head and neck etc, with corresponding dissection studies to be made on the cadaver, which shall henceforth be referred to as the 'body'.

Proximity and the Pox: Pathologizing Infidelity in Marston’s Dutch Courtesan

Marston’s Dutch Courtesan links the dangers of sexually transmitted infection and false religious doctrine, both spread by the Family of Love. The play finds dark comedy in the syphilis epidemic that urban sexual promiscuity perpetuated and in ridiculous religious heterodoxy. Both seem to thrive on infidelity. By making the tavern-owning Mulligrubs, the sex worker Franceschina, and her bawd Mary Faugh members of the Family of Love, Marston makes the corporeal dangers of illicit sex during an epidemic even more dangerous when its companion is the contagion of Familism, threatening to spread as efficiently as the syphilis ravaging early modern London.

The Theological Scope of Early Christian Tragical Vision

This last full chapter confirms, first of all, that tragical vision and mimesis constituted a theological artform in early Christian literature, whereby literary, rhetorical, and dramatic artistry were vital to the eminently theological interests of patristic tragical visionaries and not mere artifices. The “theodramatic” interpretive paradigm of the modern theologian Hans Urs von Balthasar is introduced as a lens through which to reevaluate the compatibility of theology and tragedy in early Christian authors. Other modern Christian tragical visionaries besides Balthasar are also brought into “conversation” with patristic interpreters of the tragic character of creaturely existence, in an effort to demonstrate the theological intelligence and accountability of early Christian tragical mimesis in its various forms, and to highlight the criteria by which “the tragic” has come to be identified in the Christian tradition. It is shown that patristic interpreters often played up human experience of intractable evil and “fateful” suffering in order, paradoxically, to enhance the depths of the divine wisdom and providence operative in creation. Tragical mimesis ultimately integrated “dark” comedy in dramatizing the “folly” of the economy of salvation.

KONTROVERSI VIDEO LAST HOPE KITCHEN EPISODE PUDING BABI KURMA DI YOUTUBE (ANALISIS UNSUR SARA SEMIOTIKA CHARLES SANDERS PIERCE)

Video Last Hope Kitchen episode Puding Babi Kurma yang ditampilkan di channel YouTube milik Tretan Muslim dengan viewers lebih dari 275 ribu menimbulkan kontroversi karena dinilai mengandung unsur SARA. Kontroversinya terlihat dari percakapan dan gesture yang ditunjukkan oleh Muslim dan Coki seperti “Daging babi dicampur dengan sari kurma, babinya jadi halal atau kurmanya yang jadi haram?”. Tujuan dari penelitian adalah untuk menginterpretasikan unsur SARA dalam video Last Hope Kitchen episode Puding Babi Kurma. Penelitian ini menggunakan teori diskursus, ruang publik, critical discourse analysis, dan semiotika. Metode yang digunakan adalah kualitatif dengan teknik analisis semiotika Charles Sanders Pierce, video dianalisis berdasarkan trikotomi semiotika yaitu tanda, objek, dan interpretasinya. Hasil penelitiannya adalah tanda berupa percakapan dan gesture, objek berupa simbol-simbol yang diperlihatkan dalam video menghasilkan makna bahwa Muslim dan Coki menampilkan video bergenre dark comedy yang masih sangat jarang ditampilkan di Indonesia dan mengandung unsur SARA. Konten komedi yang membawa unsur agama didalamnya sangat sensitif bagi masyarakat Indonesia.Kata Kunci: Video Last Hope Kitchen, Kontroversi, SARA, Dark Comedy, Semiotika.