THE STRUGGLE OF WOMEN EXISTENCE IN “ISN’T IT ROMANTIC” NOVEL BY WENDY WESSERSTEIN

This study aimed to reveal the struggle of women to gain existence in the novel as a representation of social phenomena. The data source of this research was Isn't It Romantic drama by Wendy Wesserstein. This drama is about women who want to achieve their dreams without the participation of their parents. They want to live without any interference from their parents. To reveal the struggle for existence, the researcher uses the existentialism approach by Simone Beauvoir. Existentialists fight for the nature of human existence, especially for women who have been subordinated to the patriarchal system. The method used in this research is Descriptive qualitative method. The close reading data collection method is effective in tracing data relevant to research variables. The analysis method is carried out critically by using an existentialism approach. The researcher got three main analyses toward the novel, they are: independence over women, authority in making decisions, and lastly, the same existence as a human being.

THE PORTRAIT OF A MODERN WOMAN IN THE POETRY OF WANDA MELCER

The article tackles the topie of womanhood as a typical motif in Wanda Melcer' s poetry, a topie which in historical-literary studies has so far been insufficiently discussed. Through the analysis of selected poems from her two published volumes as well as from other scattered poems, the portrait of a modern woman as presented in that poetry has been sketched out. This woman is a person who takes part in civilisational, social and manner-related changes. Her relations to culture, art and literature, her vitality and being active in life, all attest to her abandonment of roles imposed by the patriarchal system. It has been shown that the "new woman" breaks taboos and is educated. Above all she is independent and selfreliant, desires success and thirsts for new experiences, as demonstrated by how she frequently changes her surroundings and appropriates new spaces. She moulds her identity in confrontation with the outside world, she is open to otherness and changeability. At the same time she maintains personal consistency. Her creative identity is related to acting upon the principle of choice, and not obligation. Due to the multitude of biographical references present, the portrait of the female heroine contained in Wanda Melcer's poetry can be seen as a self-portrait of the author herself.

The Peony Pavilion as a picture of sexual individuation

The Peony Pavilion is a story central to Chinese gender identity. It vividly portrays a story of the path of sexual individuation of a Chinese woman. In comparison to female images in Western stories, Chinese women are the active ones in their intimate relationships with men. They have been oppressed for many years because they are recognised as the subject of desire and as having reflexive aggression. However, with enough love, a girl dares to separate from her natal family, to fight against the patriarchal system, and to be herself. Identifying with the father’s aggression can facilitate her in this process.

Pria sebagai Privileged Allies dalam Gerakan Feminis HeForShe untuk Memperjuangkan Hak Pekerja Wanita di Indonesia

Gender inequality is a problem faced throughout the world, including in Indonesia, where the patriarchal system causes women to often get injustice from various sectors, especially the work sector. In 2014, UN Women initiated the formation of HeForShe by making men as agents of change so that women can live equally without discrimination. This research then aims to see why the HeForShe organization involves men in efforts to address gender inequality in Indonesia. This research also uses qualitative methods with various data sources from the HeForShe organization, the Government of Indonesia and the Ministry of PPPA. The theory used is Liberal Feminists with the concept of men as privileged allies. The results of this study indicate that men as privileged allies in the struggle for the rights of women workers in Indonesia. The support provided by Indonesian men currently varies from learning about gender equality to building movements to support the elimination of violence against women. It is through this contribution that women's voices will be heard and gender equality actions will be better realized. Keywords: Indonesia, Gender Inequality, HeForShe, Privileged Allies, Equality, Rights of Women Workers Abstrak: Ketidaksetaraan gender merupakan permasalahan yang dihadapi di seluruh dunia termasuk di Indonesia dimana sistem patriarki menyebabkan wanita seringkali mendapatkan ketidakadilan dari berbagai sektor terutama sektor pekerjaan. Pada tahun 2014, UN Women menginisiasikan terbentuknya HeForShe dengan menjadikan pria sebagai agen perubahan agar wanita bisa hidup setara tanpa diskriminasi. Penelitian ini kemudian bertujuan untuk melihat mengapa organisasi HeForShe melibatkan pria dalam upaya penanganan ketidaksetaraan gender di Indonesia. Penelitian ini juga menggunakan metode kualitatif dengan berbagai sumber data dari organisasi HeForShe, Pemerintah Indonesia serta KemenPPPA. Teori yang digunakan adalah Feminis Liberal dengan konsep pria sebagai privileged allies. Hasil dari penelitian ini menunjukkan bahwa pria berperan sebagai privileged allies dalam perjuangan hak pekerja wanita di Indonesia. Dukungan yang diberikan pria Indonesia saat ini sangat beragam mulai dari mempelajari mengenai kesetaraan gender sampai membangun gerakan untuk mendukung penghapusan kekerasan terhadap wanita. Melalui kontribusi inilah suara wanita akan lebih didengar dan kesetaraan gender akan terwujud dengan lebih baik. Kata Kunci: Indonesia, Ketidaksetaraan Gender, HeForShe, Privileged Allies, Kesetaraan, Hak Pekerja Wanita.

Protest kobiet. Wizerunek katolicyzmu w wytwórczości współczesnych polskich reżyserek

In the second decade of the 20th century (especially in the years 2016-2020), a significant number of films by Polish female directors were released in which Catholicism and the Catholic Church were attacked. They were: W imię… [In the Name of…], Body/ciało [Body], Twarz (Mug) and Córka boga [The Other Lamb] – all directed by Małgorzata Szumowska; Dzikie róże [Wild Roses] by Anna Jadowska, Pokot [Spoor] by Agnieszka Holland and Kasia Adamik, Wieża. Jasny dzień [Tower. A Bright Day] by Jagoda Szelc, Powrót, [Back Home] by Magdalena Łazarkiewicz, Maryjki [Marygoround] by Daria Woszek, as well as a documentary Komunia [Communion] by Anna Zamecka. The polemic related to the above-mentioned movies commented on the religiosity of Catholics and the quality of the institutional church (priests, hierarchies, methods of ministering and teaching), religious control and repression of corporeality and sexuality (including female sexuality), and Catholicism as the foundation of the patriarchal system. These films also feature elements of the "positive program", a proposal for a new cultural paradigm (new spirituality), organized around Nature, with the suggestion of matriarchy. From the point of view of social communication, the content and poetics of above-mentioned the films were similar, according to the author, to the content of the protests of the Ogólnopolski Strajk Kobiet (Polish Women's Strike), which demonstrated in 2016 and 2020 against the tightening of abortion laws.

Suara “Sang Cenderawasih” yang Membisu: Perjuangan Para Perempuan Papua dalam Menggapai Keadilan

This article emphasizes the importance of raising the issue of Papuan women’s empowerment and struggle for justice. This research is to answer, what is justice according to Papuan women and how are Papuan women’s efforts to achieve justice for their identity and the land of Papua? In answering questions and the realities faced by women in achieving justice, this research seeks freedom of talks about the rights of Papuan women in the life of the state and society. However, there are a patriarchal system and a state that make it difficult in listening to and responding to women’s voices about justice. It takes time and effort to change this old paradigm. Through the first form of storytelling, we can place the story of the identity of a Papuan woman and her pride as a symbol of cenderawasih with dark skin and curly hair. Papuan women must not remain silent and must fight for justice.

Structural Opression of Women in Surat Dari Tini Chen: Siapa Saya: A Feminist Literary Criticism

Women in a patriarchal system have a close relationship with domestic roles. This study aims to describe the construction of women's roles faced by a woman before becoming a prisoner in a short story entitled Surat dari Tini Chen: Siapa Saya written by Tini (pseudonym), a former convict. This research is descriptive qualitative in nature and has qualitative data taken through library techniques. The approach used in this study is structural story analysis and feminist literary criticism with an intersectionalism approach to explaining social phenomena that become the factor of oppression. The results show that three factors (i.e., education, power relations, and psychology) support the formation of structural oppression on Tini. The economic condition is the estuary that underlies the emergence of the factors.

THE CONSTRUCTION OF MONSTROUS WOMEN THÉRÈSE DESQUEYROUX BY FRANÇOIS MAURIAC

Issues of domestication, minority, and discrimination have frequently put women in inferior position in society. When women seek equality, they are often framed as embracing monstrous attitudes. This study focuses on François Mauriac’s novel titled Thérèse Desqueyroux (1927) with the intention of exploring the meanings and the significations in its construction of women as monsters. It has been observed that women are depicted as monsters because their struggle for freedom is seen as a challenge to the patriarchal system. The aims of this study are to find out and to describe the influential aspects in the construction of women as monsters and how such construction creates meanings. The study relies on content analysis method and follows three steps of analysis: collecting data relevant to monstrosity, classifying data based on the themes and problems related to the topic, and analyzing the data using Barbara Creed’s theory of the monstrous feminine (2007). The study results in the finding that the construction of women as monsters is strongly correlated with the deep institutionalization of patriarchy in French culture. Penempatan perempuan pada posisi inferior dalam banyak narasi disebabkan oleh faktor-faktor domestifikasi, minoritas, dan diskriminasi. Ketika perempuan memperjuangkan kesetaraan, mereka dianggap membangkang dan disimbolkan sebagai monster. Konstruksi monster terhadap perempuan ini terlihat pada novel François Mauriac berjudul Thérèse Desqueyroux (1927). Tulisan ini mencoba memahami makna dan pemaknaan konstruksi perempuan sebagai monster dalam novel tersebut. Studi ini menemukan bahwa perempuan digambarkan sebagai monster karena perjuangan mereka untuk mencapai kebebasan dianggap menentang struktur patriarki. Tujuan dari studi ini adalah menemukan dan mendeskripsikan aspek-aspek yang berkaitan dengan proses pemonsteran perempuan dan bagaimana proses tersebut dimaknai. Penelitian ini menggunakan metode analisis isi cerita dan dilakukan dalam beberapa tahap. Tahap pertama adalah pengambilan data yang relevan dengan pemonsteran. Tahap kedua adalah pengklasifikasian data sesuai dengan tema dan permasalahan tentang pemonsteran perempuan. Tahap terakhir adalah analisis data temuan dengan teori Barbara Creed (2007) tentang the monstrous feminine. Studi ini menyimpulkan bahwa konstruksi perempuan sebagai monster berhubungan erat dengan kultur patriarki yang sudah terinstitusionalisasi di dalam budaya Prancis pada masa ketika novel tersebut ditulis.

Performing Patriarchy in Much Ado About Nothing

This article aims to restore the pairing of Claudio and Hero to prominence. The positioning of Hero by Claudio and the play’s other powerful men is central to the plotline, especially in terms of the “nothing” of Hero’s supposed sexual incontinence, as well as being dramatically pivotal to the play’s meanings and structure. The fact that the scene is absent from the play underscores the crucial symbolic importance of the role of Hero to the patriarchal system, drawing attention to the ways in which her function needs to be noted and understood. The analysis undertaken here therefore redresses the balance, since the pairing of Beatrice and Benedick seems so much more alive to modern sensibilities. This article argues that the reason for this lies in their seeming attractiveness as characters who are more easily recuperated to a historically later form of patriarchy from Shakespeare’s period, one that resonates powerfully with the rise of individualism to elevate them over Hero and Claudio.

SUBALTERN PERSPECTIVES IN MAHESH DATTANIS BRAVELY FOUGHT THE QUEEN

Mahesh DattanisBravely Fought the Queen elucidates the defaulted picture of the Indian society, where the characters face a tremendous existential crisis. The women are badly dependent on the men characters for their survival, whereas the male characters are badly dependent on the patriarchal system for proving their dominant existence in the society. Every character in the play whether a man or a woman faces a gruesome crisis for their survival. They are not free birds who can drive their life by their free will. Women in the play are portrayed as the victims under the tyrannical hands of patriarchy, from which they are trying to escape from the claustrophobic existence to their own shaped world of independence. This paper is an earnest endevour to explore the existential crisis of the characters and search a probable solution.