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 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

Special section: Is feminism doomed? Feminist praxis in the times of ‘gender ideology’ in Slovakia

2020 ◽  
pp. 135050682097915
Author(s):  
Zuzana Maďarová ◽  
Veronika Valkovičová
Keyword(s):  
Civil Society ◽  
Gender Equality ◽  
Knowledge Production ◽  
Special Section ◽  
Gender Ideology ◽  
Civil Society Organizations ◽  
Far Right ◽  
And Gender ◽  
The Times ◽  
Feminist Organizing

Thirty years after the Velvet Revolution, Slovak feminist activists look back to the 1990s and early 2000s as the time of exceptional capacity building and knowledge production which was barely sustained in later years. The last decade of feminist organizing has been marked by waning financial resources for civil society organizations, and appropriation of feminist and gender equality agenda by the state, which led to the hollowing out of its content. What is more, strong and pervasive conservative pressure with the aid of ‘gender ideology’ rhetoric has been successful in delegitimizing gender equality policies and is consistently threatening sexual and reproductive rights in the country. Facing such prospects, this article examines newfound alliances and diverse forms of broadly understood feminist praxis, which go beyond institutionalized civil society, but have developed to counter neoconservative and far-right political pressure in Slovakia.

Analysis of Female Implicates in the Video “Cara Kodein Cowok Biar Cepet Merid” by Last Day Production

2021 ◽  
Vol 1 (1) ◽  
pp. 14-20
Author(s):  
Hesti Nurlaeli
Keyword(s):  
Data Analysis ◽  
Data Collection ◽  
Female Character ◽  
Note Taking ◽  
Female Characters ◽  
Pragmatic Theory ◽  
Research Results ◽  
Analysis Techniques ◽  
Qualitative Descriptive ◽  
Data Collection Technique

A speech can also lead to a description of the principles of conversation. This also happened in Las Day Production's video “Cara Kodein Cowok Biar Cepet Merid”. This research aims to find out and describe the female characters’ utterances or the implicit forms of the in the video "Cara Kodein Cowok Biar Cepet Merid" by Last Day Production. The approach in this research uses pragmatic and qualitative descriptive. The data collection technique in this study was using the note-taking technique. The data analysis techniques used in this study were data triangulation, theory triangulation, and source triangulation. Triangulation of data was generated by recording the speech of a female character in the video "Cara Kodein Cowok Biar Cepet Merid" by Last Day Production. The theory triangulation refers to pragmatic theory, while the source triangulation is the video "Cara Kodein Cowok Biar Cepet Merid" by Last Day Production, which is downloaded on YouTube. The research results in the video "Cara Kodein Cowok Biar Cepet Merid” have 8 stories of female characters that contain implicatures.

Sikh Women Diaspora in Malaysia: The Reality of their Role and Status in the Religious Domain

2018 ◽  
Vol 9 (1) ◽  
pp. 40-65 ◽  
Author(s):  
Charanjit Kaur ◽  
Sarjit S. Gill
Keyword(s):  
Gender Equality ◽  
Cultural Practices ◽  
Daily Life ◽  
World View ◽  
Gender Ideology ◽  
Equal Importance ◽  
Two Generations ◽  
The Status ◽  
Gender Specific ◽  
Women’S Views

This article aims to examine how the Sikh women diaspora from two generations exercised their rights within the religious domain in Malaysia. Sikhism has a unique world view of gender ideology; from a gender perspective, God is symbolically described as a husband to all of humanity, whereby all humans, irrespective of gender, are perceived as having the status of wives to God. Since the Sikh religion focuses on the concept of the spirit rather than the physical body; therefore, the position of God and mankind should be cognized from the viewpoint of transformation of spirit. Most significantly, every human being, be they male or female, is held in equal importance, with each individual being conferred the same position, status, rights and opportunity to live this life as God has ordained. In fact, tenets of life that define practices as being praiseworthy, or to be avoided, are not gender specific. This makes the philosophy of gender equality of the Sikh religion particularly interesting and worthy of academic scrutiny. To what extent is it true that women have equal status with men? The authors discovered that patriarchal cultural practices have clearly dominated Sikh women’s views about their roles in daily life, as well as in the perception of their own status. This article concludes with specific recommendations to uplift and strengthen gender equality among the Sikh community in the religious domain.

scholarly journals Die dialoog tussen die voorblad, die manneplot en die verhale in Dulle Griet van Riana Scheepers

Literator ◽  
2001 ◽  
Vol 22 (2) ◽  
pp. 113-132
Author(s):  
G.H. Taljaard
Keyword(s):  
Short Stories ◽  
Female Character ◽  
Female Characters ◽  
Survival Mechanism ◽  
Male Attitudes ◽  
The Way

The dialogue between image and text in Riana Scheepers's Dulle Griet This article examines the way in which the content and theme of Riana Scheepers’s Dulle Griet (1991) interact with the “manneplot” (traditional and/or stereotypical portrayal of female characters within novels) and with the cover illustration of the book – a detail of “Mad Meg” (as she is often referred to) from Pieter Brueghel’s Dulle Griet (1562). It explores how the women in Scheepers’s short stories are portrayed – not only as vulnerable, but also as evil and corrupt. They are abused victims; but they are also tyrannical abusers. They are innocent maidens and mothers, but also lovers, prostitutes, lesbians and murderers. The way in which the gradual degeneration of the anonymous central female character relates to Brueghel’s image of “Mad Meg” on her way to the jaws of hell is discussed in this article. But the article also demontrates Scheepers’s concern with feminist issues by using the cover as an ironic “frame”, and shows that the moral decline of the women portrayed in the text seems to be as a result of the actions of chauvinistic men, who appear in different forms throughout the text. Female degeneracy can thus be seen as a survival mechanism, in a world – and a text – dominated by the masculine paradigm, the “manneplot” of traditional male attitudes to women.

scholarly journals Gender Equality Messages in Film Marlina The Murderer In Four Acts

2019 ◽  
Vol 2 (3) ◽  
pp. 136
Author(s):  
Husen Mulachela ◽  
Aurelius RL Teluma ◽  
Eka Putri Paramita
Keyword(s):  
Gender Equality ◽  
Roland Barthes ◽  
Scene Analysis ◽  
Unit Of Analysis ◽  
Visual Elements ◽  
Analysis Process

This research trying to analyze the meaning of symbols in the film Marlina The Murderer in Four Acts based on the indicators of gender equality namely, access, participation, control, and benefits. The unit of analysis in this study includes the audio and visual elements that exist in a selected scene for later analysis using the Roland Barthes semiotic method known as the "two order of signification" to find the meaning of denotation and connotation meanings and myths contained in both order systems. The whole series in this study refers to the framework of thinking with the aim of answering the formulation of the problem in research. From the results of the study, researchers found as many as 17 scenes containing the message of gender equality by including indicators of gender equality both in audio and visual elements. After going through the scene analysis process using the Roland Barthes semiotics method, control indicators in gender equality are found more prominently in films, then followed by indicators of access, participation, and benefits. This shows how the important role of control indicators in gender equality is applied so that other indicators can work.Keywords: Semiotic; film; gender equality; Marlina the Murderer in Four Acts

scholarly journals Moscow Doesn’t Believe in Tears: A Matter of Gender and Fate

2021 ◽  
Vol 34 (3) ◽  
pp. 97-110
Author(s):  
Laia Perales Galán
Keyword(s):  
Soviet Union ◽  
Gender Equality ◽  
Political Context ◽  
The State ◽  
Power Dynamics ◽  
Female Characters ◽  
Domestic Sphere ◽  
Gender Dynamics ◽  
Role Morality ◽  
The Soviet Union

This paper offers an in-depth review of the Soviet hit film Moscow Doesn’t Believe in Tears (1979). Focusing on its female characters, it analyses the gender dynamics that prevailed in the Soviet Union at that time and the narrative impact it had on the plot. The article is divided into three subsections: a brief historical and political context, a depiction of the state of gender equality in the Soviet Union, as well as the power dynamics that existed both in the professional and domestic sphere, and a summary of the different femininities portrayed by the characters, along with the role morality and fate played in the film.

scholarly journals Pesan Dakwah Akhlak dalam Animasi Serial Nusa dan Rara Pada Episode Toleransi di Media Youtube; Analisa Simiotik Roland Barthes

2020 ◽  
Vol 3 (01) ◽  
pp. 28-36
Author(s):  
Defa Ristianto ◽  
Amalia Rosyadi Putri ◽  
Tenika Illananingtyas
Keyword(s):  
Data Collection ◽  
Qualitative Analysis ◽  
Roland Barthes ◽  
Moral Teaching ◽  
Semiotic Theory ◽  
Good Deeds

Nussa animation is an animation which is categorized as a medium for preaching. Because the messages conveyed were thick with Islamic teachings. However, not all viewers can understand what messages are contained in the animation. Due to this reason, the study aims to determine the messages of moral da'wah that can be seen directly or indirectly with Ronald Barthes' semiotic theory. The method used in this research is qualitative analysis, with data in the form of documents. Data collection using observation and documentation. The theory that is used as the basis is Roland Barthes' semiotic theory which focuses on denotative and connotative meanings. The results of the study are the denotative meaning of dakwah morals, (1) Have an attitude of help. (2) Always say thank you for a help. (3) Always have a sincere nature when helping. (4) Doing rejection well. (5) Providing opportunities for children to do good (6) giving love to children. (7) always say "Astafirullah" when hit / hear a disaster and say "Alhamdulillah as a form of gratitude. Meanwhile, the meaning of the message of moral teaching is connotative, (1) It shows that Islam is a soft religion, rahmatan lil alamin, helpful and tolerant (2) Want to break the paradigm under the religion of Islam having followers who are very rigid and do not want to interact with other people. (3) Providing education to children to do good deeds with anyone regardless of status and religion.

scholarly journals Seen through his eyes: The representation of female characters in Béla Bartok's stage works

New Sound ◽  
2015 ◽  
pp. 39-54
Author(s):  
Mina Božanić
Keyword(s):  
Cultural Studies ◽  
Female Character ◽  
Gender Representation ◽  
Female Characters ◽  
Personal View ◽  
Specific Relationship ◽  
Images Of Women

The question of gender representation in Béla Bartok's (1881-1945) stage works is discussed through the prism of cultural studies, with reference to the intellectual, social and political atmosphere in which the composer shaped his ideas. In this sense, it is provocative to question how the stereotyped images of women influenced/merged with Bartok's personal view on women, or is it, maybe, possible that one intimate conception of female characters, reflected the composer's specific relationship toward women? The treatment of the female character will be shown through the analysis of the plot and key scenes in Bartok's stage work.

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