This study aims to dismantle the strengthening of patriarchal culture and its impact on women’s position in the adaptation of the Sitti Nurbaya novel by Marah Rusli to the Nurbaya musical series directed by Naya Anindita and Venytha Yoshianthini and broadcast on Indonesia Kaya Youtube channel. The research method used is analytical descriptive by applying the concept of ecranisation, a feminist approach and aspects of musicality in musical theater, in addition to digital cinematography as readings of a film theater. The results show the transformation of the main female character’s resistance to patriarchal culture in novels and musical series. In the novel, resistance is targeted at criticism of domestic practices in the household. In contrast, in musical theater the resistance is extended to contemporary issues, namely dreams of freedom and ideals. In addition, the resistance of the main female character also shows her agency, which can influence other oppressed women to fight back. However, despite the transformation of resistance, the adaptation still reflects the strengthening of patriarchal culture. In the musical series, the patriarchal culture that occurs is not only carried out by male domination but by the involvement of women in strengthening patriarchal domination.
In literary works, how immigrants build a sense of home and culture can be seen in the novel titled Tanah Seberang (2018) by Kurnia Gusti Sawiji. This research using qualitative-descriptive method aims to show how the process of feeling at home and cultural belonging is built by immigrant characters in the novel Tanah Seberang (2018). This study will use the concept of narratology proposed by Gérard Genette (1983) and the theory of Home and Belonging and “in-between” Identity proposed by John McLeod (2000). The results showed (1) one novel contains variable focalization that represents the children's point of view, (2) in the process of the characters in building a sense of home and cultural belonging, there is contestation between Malaysia, other countries, and Indonesia, other countries. origin of the immigrants. The contestation of the country of origin, namely Indonesia, and the migrant country, namely Malaysia, shows that Malaysia can provide a good life from a financial perspective, however, the cultural belonging and sense of home of the migrant population in the novel are still embedded in their country of origin, Indonesia.
In the comics with superhero genre, the reader will see a villain figure as the opponent of superhero. In September 2019, Bumilangit in collaboration with Gramedia Pustaka published the comic Gundala: Destiny as the complementary media adaptation to the movie Gundala: This Country Needs Patriots which was also published in the same year. This comic presents the figure of Sancaka against Pengkor. Unlike the movie, the main point of narration in the comic is from the perspective of Pengkor as the villain. The comic’s narrative shows the story of Pengkor's childhood until he became a mafia who is feared and respected by many people. With his power, Pengkor has both socially or politically dominance. His power also works with his 10 adopted children as the victims of his subordination. However, Pengkor’s actions to create power over his children were carried out without coercion and repression. In this way, his adopted children obeyed and glorified Pengkor with the nickname 'Father'. By using the structural theory of Tzvetan Todorov and the hegemony of power from Antonio Gramsci, this study aims to dismantle the ambivalent power attitude of Pengkor as the villain figure in the comic Gundala: Destiny.
<p class="Abstract">This article talks about the depiction of harassment in the street <span style="font-size: 1rem;">happening in the Quais de Seine’s scene in the film Paris Je t’aime. The </span><span style="font-size: 1rem;">film depicts the story of women harassed in the street by strangers </span><span style="font-size: 1rem;">who shouted to her uncomfortable words that usually happens in </span><span style="font-size: 1rem;">Paris. Street harassment is public bullying happening in the street, </span><span style="font-size: 1rem;">usually driven by sexual desire that transforms in to verbal and </span><span style="font-size: 1rem;">physical contacts. The goal of this research is to comprehend the </span><span style="font-size: 1rem;">street harassment focusing on Quais de Seine’s scene in Paris Je t’aime. </span><span style="font-size: 1rem;">Cinematography and narrative elements show the type of harassment </span><span style="font-size: 1rem;">and how it is contested by both perpetrators and victims. This article </span><span style="font-size: 1rem;">uses qualitative and literary methods to analyze the data. The result </span><span style="font-size: 1rem;">shows that the victims of street harassment are generally experienced </span><span style="font-size: 1rem;">by women of color; whereas, the perpetrators are usually different </span><span style="font-size: 1rem;">men of color. Also, this research found that street harassment isn’t </span><span style="font-size: 1rem;">only about sexual desire but it also intersects with religious value.</span></p>
Intertextuality studies bring several literary works to face each other. The great work of Ramayana which has been translated into various languages has become one of the most popular epics to date. The phenomenal event in the text called agni pariksha or Sita's burning as a test of chastity indicates that Sita is a symbol of loyalty. In the form of poetry, Sapardi Djoko Damono wrote it under the title Sita Magic by expressing Sita's feelings. Sapardi also wrote another poem with the same theme as the title Benih which is described from the story of accusations of Sita's pregnancy by Rama and the people of Ayodya in Valmiki's Bab Utarakandha. Based on the reading of the three texts, this study explains Sita's inability to articulate her voice against Rama's accusations. Through Gayatri Spivak's subaltern theory, this research will dismantle Sita's suppressed voices which are narrated through the author's thoughts. It was found that culture greatly influences Sita's silence which is based on stereotypes that have been defined in cultural identity.
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