Reader-response theory shifts the critical focus from a fext to a reader. It diverts the emphasisaway from the text as the sole determiner of meaning to the significance of the reader as an essential participant in the reading process and the creation of meaning. Thus, both explanations place a reader as an active participantalong with the text in the production ofinterpretation ofthat literary work from the point ofview ofthe reader-response theory.As a result, if teaching literature is to accommodate the students' role in making interpretation, it is supposed to place them as the active readers to interpret and shape the meaning of that particular literary works; it is not preaching or directing them into a specific meaning decided previously. Students as the active readers must be given opportunity and space to develop their opinion and argumentation to shape and define what a particular text means to them. Therefore, by understanding and applying reader-response theory in teaching and learning literature in the classroom, at the same time, teachers could have a different teaching and learning method e.g. learners-centered learning. This paper is going to depict how the understanding of a literary work's meaning and interpretation is composed by the readers-the students; how the students could function themselves as active readers who successfully manage to interpret the literary work based on their responses and how finally this particular group of readers could finally agree on the particular interpretation. Besides,it is to place students both as the readers and learners• The paper hasbeen presented inthe2°^RAFIL (Reading Asia, Forging Identities in Literature) International Conference on East-West hosted by Sanata Dhamrn University in Yogyakarta Indonesia.
When Martin Luther King, Jr. mentioned that "We must remember that intelligence is not enough. Intelligence plus character that is the goal of true education", he must have completely understood that education is never enough without educating the students' characters. Nowadays, characterbuilding-based curriculum has been promoted throughout the country to educate students' character building. It also soon becomes the government's concern and urgency to teach character building to students of any level as it is mentioned in the Decree of National Education Ministry number 045/U/2002. However, there are some problematic matters in designing its teaching materials whether it is between didactic and non-didactic or implied and vice versa method of teaching.
The research aims to figure out the gender roles which are used to look at how the film constructs and upholds gender roles. The qualitative method is used to analyze the data in which the primary data are taken from Brad Bird’s Incredibles 2 (2018). Additionally, the researcher used gender roles and cinematography theory to look at how gender is a performance and also to gain a result that gender roles are changing overtimes. The use of Judith Butler’s theory of performativity is to show that the portrayal of gender roles in the movie is slightly different from social construction. Butler’s notion of performativity refers to an act of performance that an individual is doing repeatedly as described in Incredibles 2 (2018) where Bob and Helen do the gender role reversal and share the same responsibilities in the family. Bob is previously shown as the breadwinner of the family and the main earner while Helen is a full-time stay-at-home mother who takes care of the children and the house. Since they no longer hold the traditional gender role; therefore, the movie demonstrates how they start to swap gender assigned tasks. Accordingly, the gender roles are showcased as Bob is being the househusband and the caretaker of the family while Helen is a working woman.
Gema Dari Menara (1968) was intended as a mode of da’wah (the propagation of Islamic teachings) in response to the situation faced by the local community in Brunei at that time. Following its status as a medium of disseminating the Islamic values, the film embodies Islamic teachings that guide Bruneian Muslims to fully embrace Islam. This current study aims to unravel the meaning of the Islamic value of Amar Ma’ruf Nahi Mungkar (enjoining good and forbidding wrong) that is strongly depicted in the film and perceived as the enlightening Islamic value from the film. Therefore, this study examines the extent of the manifestation of Amar Ma’ruf Nahi Mungkar in the film. It is found that the portrayal of da’wahism using Amar Ma’ruf Nahi Mungkar is imbued in education, social interaction, clothing, and one’s upbringing which is the most influential factor. By applying the Islamic requisites, the scenario and sentiments in the film also encourage the audience to ponder upon the cause and effect of the characters’ actions and deeds.
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