Menggali Jejak Psikologi Lokal Perempuan Jawa dalam Sastra Indonesia: Evidensi pada Novel Kita Masih Punya Bulan Karya Nurinwa KSH

This article is part of a research on Indonesian literature in East Java which is studied from the perspective of local psychology. This study aims to explore local Javanese women in Indonesian literature. The research method used in this research is qualitative which leads to literature. The data collection technique was carried out in a documentative manner. The data analysis technique was carried out through the stages of identification, sorting, and exposure. The results showed that local Javanese women appeared in two segmentations, namely (1) Javanese local women as mother figures, having empathetic and patient behavior and (2) Javanese local women as child figures who had filial and patient behavior. This research shows that the local psychology of Javanese women that appears in literature leads to the psychology of eastern women which tends to strengthen intuition and ethical psychology.

Almodovarian mother figures: early films=Figuras maternas almodovarianas: primeras películas

<p><strong>Abstract</strong></p><p>In Pedro Almodóvar´s early films, the portrayal of unconventional maternal figures come in varying forms - more than often she (or he) is an unrelated outsider who eventually comes to replace a child’s absent or indifferent biological mother. This study aims to show how Almodóvar's families are formed by accident or necessity regardless of gender, sexuality, fertility, age or class, with the “Mother” figure as the uniting force. We will argue that in Almodóvar’s films the trauma of hostile urban life is often the catalyst for the breakdown of the family bonds, resulting in the search for an alternative mother substitute, while subsequently a return to one’s rural origins is often the key to repairing a damaged relationship between mother and child.</p><p><strong>Resumen</strong></p><p>En los primeros filmes de Pedro Almodóvar, sus figuras maternas, alejadas del rol tradicional, destacan por su diversidad; la mayoría de las veces, ella (o él) se revela como un personaje extraño que, eventualmente, reemplaza a la madre biológica ausente o indiferente. Las familias en el cine de Almodóvar se forman accidentalmente o por necesidad, sin que importe el género, la sexualidad, la fertilidad, la edad o la clase, siendo la figura de la “Madre” una fuerza unificadora. Este estudio pretende demostrar que en el cine de Almodóvar el trauma de la vida urbana hostil es a menudo el catalizador de la ruptura de los lazos familiares, desembocando en la búsqueda de “una madre” alternativa, mientras que posteriormente el retorno a los orígenes rurales es a menudo el factor clave para reparar una relación dañada entre madre e hijo.</p>

Female Kin, Procreation, and Parenting

This chapter provides a female-centric lens on kinship relations in the Qur’an. It considers Qur’anic depictions of mothers, grandmothers, daughters, and sisters. In addition to many general descriptions of childbearing, childrearing, and parent–child relationships, the Qur’an includes figures that epitomize nearly all of the different constellations of parent–child relationships, including foster mother figures and their sons (Joseph and Moses) and a father figure with his foster daughter (Mary). The Qur’an consistently depicts daughters and sisters as morally upright, while by contrast, it contains multiple narratives of sons and boys who are morally corrupt. Qur’anic narratives depict several female figures leveraging their kinship networks to the benefit of vulnerable male figures in distress. The chapter provides detailed intra-textual analysis of concepts related to female reproduction, including the womb and motherhood.

The Female Version in Daphne Du Maurier’s Rebecca

Rebecca is a novel which is created by Daphne Du Maurier. That novel is retold by Margaret Tarner in 1991. The main character of this novel is the narrator. This study uses A Freudian Psychological Analysis. The purpose of this study is to trace the Electra Complex (the female version of the Oedipus Complex) in Rebecca. So, the steps of this study are identify the symbolic father figure and the symbolic mother figure and trace how the main character tries to displace the symbolic mother figures in that novel. There are two results of this study. The first, Mr. De Winter is the symbolic figure father, while Mrs. Van Hooper, Rebecca, and Mrs. Danvers are the symbolic of mother figures. The second, the main character tries to displace the mother figures. The main character is marrying Mr. De Winter before Mrs. Van Hooper realizes her plan to make Mr. De Winter as the next victim. Then, the main character is trying to displace Rebecca by doing: (1) make social call with Beatrice and Giles, (2) prepare the best appearance for the Ball, and (3) cover her husband as murderer. Then, the main character is trying to displace Mrs. Danvers by convincing Mrs. Danvers to be her friend, but Mrs. Danvers decides to burn Manderley and go away from that place. Therefore, the narrator suffers Electra Complex and becomes the female version of the Oedipus Complex.

The city in Soviet Lithuanian cinema

The article analyzes urban representations of Soviet-era Lithuanian cinema. Like any other object of reality, the city in cinema is a secondary reality, the fruit of artistic interpretation. At the same time, images of the city in film can reflect individual and collective consciousness of the period. The analysis of urban space of Lithuanian feature cinema reveals that cinematographic space can be treated as a composite construct, which creates and represents projections of identities and feelings, reflects demands, ideas, cinema fashions of its time and “hides” real sociocultural and sociopolitical discourses. Most of Soviet-style feature films much easier incorporate countryside spaces, images, landscapes and lifestyle. Meanwhile the city often not only creates an impression of a claustrophobic space, but even looks very decorative. It seems that most of filmmakers can’t identify cities with their own, Lithuanian, national living space. In search of identity or inspiration they turn to idealized village, agrarian culture and its images. Therefore, the city of Soviet Lithuanian cinema is more likely to become a space of collapsed hopes, prison, ideological repressive space, which is stuck between the present and the past. Filmmakers, like their characters, run to the shelter of nature, the mythologized, well-decorated farmstead, where archetypal father and mother figures or a calm, meditative landscape await. It seems that movie characters (and filmmakers), who have escaped from the socialist reality and its challenges to the landscapes of nature and village, have never returned.

Familism values across the transition to adolescent motherhood: Links to family functioning and Mexican-origin adolescent mothers’ adjustment

Familism values are conceptualized as a key source of resilience for Latino adolescents’ psychosocial adjustment. The current study addressed the developmental progression and correlates of familism within the context of the transition to adolescent motherhood. Participants were 191 Mexican-origin pregnant adolescents (15 to 18 years of age at first pregnancy; Mage = 16.76 years; SD = 0.98) who were having their first child. Adolescents completed interviews during their third trimester of pregnancy and annually for 5 years after (Waves 1 through 6). We examined changes in familism values across the transition to adolescent motherhood and the moderating role of age at pregnancy. Moderation analyses revealed differences in familism trajectories for younger versus older adolescents. We also examined whether familism values were related to family relationship dynamics (i.e., adolescents’ relationships with their own mother figures) and adolescents’ psychosocial adjustment, respectively, using multilevel models to test both between-person and within-person associations. Adolescents’ stronger familism values were related to adolescent–mother figure warmth and conflict, coparenting communication, and three dimensions of social support from mother figures, but no associations emerged for coparental conflict, adolescents’ depressive symptoms, or self-esteem. Discussion addresses these findings in the context of culturally grounded models of ethnic–racial minority youth development and psychopathology.

Persuading Rachel: Woolf and Austen’s “little voyage of discovery”

In The Voyage Out, Clarissa Dalloway gives Rachel a copy of Persuasion as a gift and this seems to be an unusual choice given the disparity between Rachel, on the cusp of sexual awakening, and Anne Elliott, a mature woman given a second chance at happiness. But perhaps Austen’s novel, with its plot including a near fatal derailing of heterosexual romance, is an apt forerunner given Rachel’s own narrative arc. Indeed, there are several plot similarities, notably the ‘mother’ figures that play a role in persuading the young women in matters of the heart (see Froula and Schlack among others). Jane de Gay argues that the novel ‘probes the silence within a female tradition, represented by Jane Austen’, such as that about ‘female sexuality’. Towards the end of her essay, ‘Jane Austen’, Woolf speculates about the novels Austen may have written had she lived for longer, notably in the light of Woolf’s sense of ‘transition’ that she detects in Persuasion and the more ‘suggestive’ ways in which Austen may have examined what ‘people … leave unsaid’. She questions whether Austen may have been ready ‘in her own gay and brilliant manner, to contemplate a little voyage of discovery’ (Woolf 120, 118). In this paper I want to explore Woolf’s and Rachel’s ‘maiden voyages’ in the light of Austen’s final novel. How might the ‘tight plait’ of Persuasion be seen to unravel a little, to make room for a new plot – a mutiny, perhaps - hinging on the different avenues that persuasion might take us.

REPRESENTASI MONSTROSITAS PEREMPUAN DALAM NOVEL MANTRA LILITH KARYA HENDRI YULIUS

This research aims at conyeving the representation of monstrous feminine in novel Mantra Lilith by Hendri Yulius (2017). The issue discussed is how the representation of monstrous feminine in Mantra Lilith. The theory used in this research is the monstrous feminine theory proposed by Creed (2003) and the abject theory of Kristeva (1982). This research used analytical descriptive method. The data from the novel is described to obtain an overview of the representation of monstrous feminine. The results show that female sexuality is a monstrous that it is represented as a snake in a novel narrative. Monstrosity is also constructed to two mother figures who refused to live in the confines of patriarchal ideology by choosing to be widows. In addition, the representation of monstrous feminine is presented through allusion to stories that have been known before such as the stories of Red Riding Hood, Timun Mas, and The Little Mermaid