DENOTING THE CHARACTERS OF ORWELL’S ANIMAL FARM THROUGH SEMIOTICS

Orwell’s animal farm is called so as political fairy tale. This novel tried to elucidate the language abuse on how the ruling class controls the lower class. They impose an ideology to the lower class that they live better under the spirit of animalism. However, the intrigue and strategy are always used to linger the tyranny of the autocrat. The entire condition is well-designed so that the lower class believes everything. Therefore, none of them dares to question everything seems anomalous. The characters in Animal farm are twisted resemble to the qualities of human characters. In a certain way, they symbolize the characters of politicians, aristocrats, or even government officers. Therefore, this novel teaches the reader about hidden agenda of political systems instead of its function to give pleasure. The story goes under the aim of criticizing the universe about the intrigue in accomplishing ambitions and sustaining the profession. However, this paper focuses on denoting the characters through semiotics to reveal better understanding about this novel

The Amplification of Hegemonic Masculinity in Kucumbu Tubuh Indahku

The history of Lengger, one of the traditional dances from Banyumas, reveals how the dancer’s body becomes a site in which control over the body is exercised. As revealed in the Kucumbu Tubuh Indahku film released in 2018, Lengger shows how the body is culturally defined as the manifestation of femininity and masculinity, and how it is dominated by hegemonic masculinities. This article aimed to investigate the hegemonic masculinities practiced by various regimes in Indonesia. The narrative method was used by applying Connell’s theory of hegemonic masculinity. The data were gathered through a close reading technique in watching the film. Further, the data were analysed using elements of narrative which involved aspects of camera technique and camera angle. The interconnectivity of the adopted scene and the wider socio-political context remained essential in understanding the context of this film. The article argues that the practice of hegemonic masculinity has been amplified in the Reformation era. As part of this expansion, the practices not only involve the domination of male over female but also male over another male. As depicted in this film, the exercise of hegemonic masculinity embraces the gay man. In relation to Warok, the gay body is dominated as well as subjugated not only by other male bodies but also by the socio-cultural body. Indeed, culture and societies deliberately have become the agents to reinforce hegemonic masculinities in the Reformation era. Keywords: Lengger, hegemonic masculinity, Kucumbu Tubuh Indahk

Virtual Sphere: A Site to Negotiate the Image of Lengger Banyumas

The research aimed at investigating how Lengger used the virtual sphere to negotiate their image to society. Lengger Banyumas was always stereotyped with the discourse of Queer, Gay, Bisexual, and Transgender (QGBT). Therefore, it led to gender discrimination, not only on the stage but also in their daily life. Consequently, in this 4.0 era, Lengger needed to use social media in order to create a different image as an alternative way to negotiate the dancer’s gender identity. The method applied was Hine’s virtual ethnography method by applying Habermas theory. Respondents were interviewed virtually through video conference. Meanwhile, the data were collected through their Instagram. The results  show that Lengger constructs their image on social media to produce an image by performing double-identity; they are  feminine on the stage and masculine in real life. The first identity is a feminine dancer to reveal the image of a  professional drag dancer from Banyumas. However, Lengger elaborates the masculine identity in their dance performance by wearing the attribute of female dancers. Meanwhile, Lengger also reveals masculine identity in their real life. As identity is fluid, it indicates that the image will also never be fixed. Thus, this image is reproduced constantly in the virtual sphere as a negotiation towards society’s stereotyping

Ethnography Study about Fanaticism of “Figure Purwokerto” Community's Members

This research is aimed to figuring out the fanaticism from the members of an action figure community in Purwokerto called “Figure Purwokerto”. “Figure Purwokerto” community is an action figure community located in Purwokerto, Central Java, Indonesia. The total of the member is about 241 people from different age and culture. The researchers use focus group discussion and interview as the method to gain the information that the researcher needed for research purposes. The researchers applies some theories in order to obtain further analysis related to the issue. Fanaticism theory is used to figure out the fanaticism of “Figure Purwokerto” community’s members. Another theory, the Cultural Studies: Cultural Consumption Research, is added to make a deeper analysis about the consumption of culture from the members of the community. The scope of this research is cultural studies under the umbrella of English Studies which relates to  American culture and supremacy with action figure as the media. Furthermore, the disscussion of this study is divided into two main parts which correspondent with the fanaticism happened in Figure Purwokerto community. The first part explains the portrayal of the fanaticism from the members of the community. The characteristics of a person can be said as a fanatics are included in this part. The second part explains the cultural relation between the members and the action figure as a culture. The result of this research concludes that the members are fanatic based on several aspects and characteristics of a fanatic. This research was also conducted to make another prespective of fanaticism which is seen as a bad term due to it’s relation to religion fanaticism.&nbsp

PESSMISM IN THOMAS HARDY’S THE DARLING THRUSH

Puisi dikatakan sebagai karya sastra yang palimng unik karena tercipta dari kontemplasi terdalam penyairnya. Namun, dalam memahami maknanya, kita mesti mangaitkan puisi dengan riwayat pengarang serta kondisi yang menjadi konteks pencipa karya.                                        Thomas Hardy adalah salah satu penyair terbaik dalam sejarah. Ia dikenal karena gayanya yang fatalis dan pesimis. Salah satu karyanya yang kental dengan warna itu adalah The Darkling Thursh, yang merupakan salah satu master piece. Puisi tersebut ditulis pada akhir abad ke-18 dan masa awal abad baru. Tradisi ini membawa banyak perubahan. Hardy mancoba melukiskan keraguannya dihadapkan dengan zaman baru itu. Segala nad yang hadir dalam puisinya membawa kita pada pandangannya yang begitu pesimis. Tulisan ini bertujuan menggambarkan nada pesimisme yang dilukiskan melalui karya itu

SOSOK WANITA DALAM PUISI “PORTRAIT D’UNE FEMME” KARYA EZRA POUND (Sebuah Kajian Melalui Pendekatan Struktural dan Semiotik)

ABSTRAK Penelitian ini berjudul ’Sosok Wanita dalam Puisi Portrait d’une Femme karya Ezra Pound’ (Sebuah Kajian Melalui Pendekatan Struktural dan Semiotik). Ketertarikan penulis untuk menganalisis puisi ini didasari karena puisi ini merefleksikan pandangan pengarang terhadap sosok wanita yang dipandang secara patriarkal. Tujuan dari penelitian ini adalah: 1) untuk menampilkan citra perempuan dalam pandangan pengarang yang direpresentasikan dalam puisi Portrait d’une Femme karya Ezra Pound; 2) untuk mengungkapkan stereotipe perempuan dan dominasi budaya patriarkal yang tercermin dalam puisi ini. Untuk mencapai tujuan di atas, penulis menggunakan pendekatan gabungan yaitu pendekatan struktural dan semiotik. Pendekatan struktural digunakan untuk mengkaji aspek-aspek intrinsik puisi, sedangkan pendekatan semiotik digunakan untuk mengungkap makna puisi dengan melihat korelasi tanda dan makna. Dari puisi yang berjumlah tiga puluh baris ini, Ezra Pound berusaha menggambarkan sosok wanita dalam pandangannya yang mewakili pemikiran kaum lelaki. Dalam puisi ini dapat pula dilihat stereotipe perempuan yang tercermin dalam dominasi budaya patriarkal. Mitos tentang wanita yang tercermin dalam puisi ini adalah wanita selalu menjadi yang kedua dan ia adalah simbol seks. Kata kunci: puisi, semiotik, patriarkal Abstract This research entitled The Figure of Woman in Ezra Pound’s Portrait d’une Femme (An Analysis through Structural and Semiotic Approach). The researcher is interested in analyzing this poem because it reflects the writer’s view about women in patriarchal context. The objectives of this research are: 1) to figure out the image of women in the author’s point of view which is reflected in the poem entitled Portrait d’une Femme; 2) to describe the stereotype of women and the patriarchal domination as reflected in the poem. In order to answer above objectives, the researcher used combination of structural-semiotic approach. The structural approach is used to analyze the poem intrinsically. Meanwhile the semiotic approach is used to reveal the meaning of the poem by considering the correlation between the sign and meaning. In his poem that consists of thirty lines, Ezra Pound tried to figure out the women in patriarchal view as the representation of men’s view. The stereotype of women in the domination of patriarchy culture can also be seen in it. The myths about women which is reflected in this poem consider them as both the second sex and as the symbol of sex. Key words: poem, semiotic, patriarcha

The Body Politics of Gendered Subjects in Indonesian Post-Reform Films

The phenomenon of power, exercised through the issue of gender and sexuality, is represented in Indonesia along with different regimes. However, the gendered body becomes the target of experienced body politics. Thus, this article aims at investigating the body politics of the gendered subjects as revealed in Indonesian Post-Reform films entitled The Dancer (Sang Penari) and Memories of My Body (Kucumbu Tubuh Indahku). This study used the narrative method by applying Yuval-Davis’ theory. Through these two films, this paper argues that the intersection of gender and sexuality leads to the othering process of the gendered body through the notion of the Indonesian Communist Party (PKI). Further, the ambivalence construction of motherhood, which essentially deals with femininity, is practised toward the gendered bodies. However, the power relation positions the gendered subjects paradoxically by mystifying their body and also demystifying their existence. This shifting is operated under altered discourse in different regimes. Further, biopower is exercised not only by regulating the body but also by subjugating them through sexual slander. Indeed, it leads them to be demonized as PKI regarding the regime’s agenda in maintaining the Indonesian collective trauma of the 1965 Genocide. However, the gendered subjects define themselves as a subject through their agency by submitting to the master narrative

The Manifestation of Hegemonic Masculinity in The Characters of Santa Monica Studio’s God of War (2018)

This research entitled “The Manifestation of Hegemonic Masculinity in The Characters of Santa Monica Studio’s God of War (2018)” aims to figure out how hegemonic masculinity is manifested in the characters of the video game God of War (2018). The primary data is Santa Monica Studio's God of War which was observed with qualitative method. Moreover, the researcher used Connell’s theory of hegemonic masculinity to analyze the traits of hegemonic masculinity through the characters. This research also uses characterization to further examine the characters’ physical attributes and behavior in investigating their masculinities. The findings of this research indicate that hegemonic masculinity is represented through the characters of Kratos, Atreus, Brok, and Sindri.  Using the above theories, the researcher found that those characters’ dialogues, actions, and behavior demonstrate hegemonic masculinity. Another important finding is that each character who performs less hegemonic can still show their hegemony through their actions and speeches. It is also discovered, to an extent that the personalities and the degree of hegemonic masculinity of the characters stem from their respective background

PERSPEKTIF BOURDIEU PADA POLA INTERRELASI PADA EKSISTENSI LENGGER LANANG LANGGENG SARI DALAM PERTUNJUKAN SENI DI BANYUMAS

Penelitian ini berjudul Perspektif Bourdieu pada Pola Interrelasi pada eksistensi Lengger Lanang Langgeng Sari dalam Pertunjukan Seni di Banyumas bertujuan untuk mengungkap pola interrelasi mendukung eksistensi Lengger Lanang di Banyumas. Penelitian ini adalah penelitian kualitatif deskriptif yang menggunakan teori Bourdieu untuk menganalisis fenomena ini. Hasil dari penelitian ini menunjukkan bahwa arena, modal, habitus, dan lintasan adalah unsur-unsur yang saling terkait yang mendukung eksistensi lengger lanang hingga saat ini. Namun, bidang ini menunjukkan sebagai pemantik munculnya kembali Komunitas Lengger Lanang Langgeng Sari dalam seni pertunjukan Banyumas. Lebih jauh, modal diakui sebagai modal budaya dan simbolik di mana mereka dikelilingi oleh seniman tradisional dan pemerintah yang mendukung mereka. Modal simbolis juga mengarah pada penerimaan masyarakat untuk keunikan. Sementara, habitus adalah keterampilan lengkap setiap anggota di masyarakat yang mengikat mereka dalam harmoni. Akhirnya, lintasan ini didefinisikan sebagai penerimaan lengger sepenuhnya karena Lengger dikaitkan dengan Banyumas pada pekerja seni lainnya di Banyumas ini.Penelitian ini berjudul Perspektif Bourdieu pada Pola Interrelasi pada eksistensi Lengger Lanang Langgeng Sari dalam Pertunjukan Seni di Banyumas bertujuan untuk mengungkap pola interrelasi mendukung eksistensi Lengger Lanang di Banyumas. Penelitian ini adalah penelitian kualitatif deskriptif yang menggunakan teori Bourdieu untuk menganalisis fenomena ini. Hasil dari penelitian ini menunjukkan bahwa arena, modal, habitus, dan lintasan adalah unsur-unsur yang saling terkait yang mendukung eksistensi lengger lanang hingga saat ini. Namun, bidang ini menunjukkan sebagai pemantik munculnya kembali Komunitas Lengger Lanang Langgeng Sari dalam seni pertunjukan Banyumas. Lebih jauh, modal diakui sebagai modal budaya dan simbolik di mana mereka dikelilingi oleh seniman tradisional dan pemerintah yang mendukung mereka. Modal simbolis juga mengarah pada penerimaan masyarakat untuk keunikan. Sementara, habitus adalah keterampilan lengkap setiap anggota di masyarakat yang mengikat mereka dalam harmoni. Akhirnya, lintasan ini didefinisikan sebagai penerimaan lengger sepenuhnya karena Lengger dikaitkan dengan Banyumas pada pekerja seni lainnya di Banyumas ini