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Journal articles on the topic 'Femininidad'
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Sola García, Marina. "Challenging Violence and Victimisation Discourses in International Relations. The experiences of Men and Women during the Rwandan Genocide = Desafiando los discursos de violencia y victimización en las relaciones internacionales. Las experiencias de hombres y mujeres durante el genocidio de Ruanda." FEMERIS: Revista Multidisciplinar de Estudios de Género 3, no. 1 (February 5, 2018): 94. http://dx.doi.org/10.20318/femeris.2018.4076.
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Abstract. The study of the roles of men and women during violent conflicts and postconflict situations has traditionally restricted the experiences of women to those of victims, and those of men to violent perpetrators. This paper adopts a feminist constructivist approach to explore how traditional gender discourses have sustained the victimisation of women and the association of violence with men in the roles of aggressors and protectors. Throughout the case study of the Rwandan genocide, this research illustrates gender stereotypes tend to ignore on the one hand the role of women as violent perpetrators, and on the other hand, the victim status of men during conflicts. This study attempts to show experiences of Rwandan women were not limited to those of victims, but they planned and participated in genocidal violence and abuses. Additionally, and also contrary to traditional gender discourses, Rwandan men compromised the first targets of violence during the conflict. This thesis concludes that a broader and deeper understanding of conflict studies and ultimately world politics can be acquired by challenging traditional gender discourses, and investigating and recognizing the multifaceted experiences of women and men in conflict and post-conflict situations.Keywords: victimisation, violence, masculinity, femininity, “beautiful souls”, “just warriors”, passivity, agency.Resumen. El estudio de los roles de hombres y mujeres durante situaciones de conflictos y de los escenarios post-conflicto, tradicionalmente ha restringido las experiencias de las mujeres a las de las víctimas, y las de los hombres a los perpetradores de violencia. Este documento adopta un enfoque constructivista feminista para explorar cómo los discursos tradicionales de género han sostenido por un lado, la victimización de las mujeres, y por otro lado, la asociación de la violencia con los hombres bien sea en su papel de agresores y/o protectores. A lo largo del estudio de caso del genocidio de Ruanda, esta investigación ilustra que en situaciones de conflicto los estereotipos de género tienden a ignorar, por una parte, el papel de las mujeres como perpetradoras violentas y, por otra parte, el estatus de víctima de los hombres. Este estudio intenta mostrar que las experiencias de las mujeres ruandesas no se limitaron únicamente a las de las víctimas, sino que planificaron y participaron de manera active en la violencia y abusos genocidas. Además, y también en contra de los discursos de género tradicionales, los hombres de Ruanda conformaron los primeros objetivos y víctimas de la violencia durante el conflicto. Esta tesis concluye que se puede adquirir una comprensión más amplia y profunda de los estudios de conflicto y, en última instancia, de la política mundial, desafiando los discursos tradicionales de género e investigando y reconociendo las experiencias multifacéticas de mujeres y hombres en situaciones de conflicto y posconflicto.Palabras clave: victimización, violencia, masculinidad, femininidad, “almas hermosas”, “guerreros justos”, pasividad, agencia.
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MATOS, SÔNIA MISSAGIA DE. "Artefatos de gênero na arte do barro: masculinidades e femininidades." Revista Estudos Feministas 9, no. 1 (2001): 56–80. http://dx.doi.org/10.1590/s0104-026x2001000100004.
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Este é um estudo sobre gênero na produção artística de peças de cerâmica em algumas comunidades de artesãos do Vale do Jequitinhonha, Minas Gerais, onde tradicionalmente apenas as mulheres chamadas "paneleiras" praticavam esse ofício, que era transmitido de mãe para filha. Naquela região, assim que a arte do barro se tornou uma fonte alternativa de renda, vários homens decidiram entrar para o ofício. A entrada de homens na arte do barro provocou reconfigurações nas relações de gênero. Um ponto muito importante a ser observado aqui é que apesar de tradicionalmente transmitida por mulheres e pela ação feminina, a arte do barro tem incorporado valores de masculinidade: ao se aproximarem de um ofício tradicionalmente feminino, os homens passaram a retirar dele recursos simbólicos de representação de masculinidade.
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Azzahra, Yuelfa, and Rouli Esther Pasaribu. "Dinamika Maskulinitas dan Femininitas: Representasi Hubungan Amerika Serikat dan Jepang dalam Film Anime Banana Fish." LINGUA : JURNAL ILMIAH 16, no. 1 (April 29, 2020): 1–27. http://dx.doi.org/10.35962/lingua.v16i1.36.
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Penelitian ini membahas bagaimana Jepang, Amerika dan hubungan kedua negara tersebut direpresentasikan dalam anime Banana Fish serta apa gagasan yang berada di balik representasi tersebut. Penulis menggunakan metode deskriptif analisis dan teori representasi dari Stuart Hall dan konsep gender dari Kite, penerapan konsep gender terhadap hubungan Amerika dan Jepang dari Dower. Hasil penelitian menunjukkan bahwa dalam anime Banana Fish, Amerika dan Jepang digambarkan sebagai oposisi biner. Amerika sebagai pihak maskulin, direpresentasikan kuat, superior dan penuh kekerasan, sementara Jepang sebagai pihak feminim, direpresentasikan lemah, inferior dan cinta damai. Banana Fish merepresentasikan hubungan Amerika dan Jepang sebagai hubungan saling bergantung, di mana Amerika cenderung melindungi Jepang dan Jepang menyediakan dukungan untuk Amerika, seperti bagaimana femininitas dan maskulinitas diposisikan dalam relasi gender. Tetapi, film animasi Banana Fish juga menunjukkan bahwa di satu sisi terdapat pergeseran bahwa sebenarnya Jepang perlahan mendapatkan maskulinitasnya yang merujuk kepada gagasan untuk merevisi konstitusi Jepang, sebuah peninggalan Amerika pada masa okupasinya di Jepang. Dari pembacaan terhadap teks Banana Fish, dapat dikatakan bahwa Banana Fish menunjukkan refleksi dari dinamika hubungan Amerika-Jepang dan pergerakan perjanjian keamanan Amerika-Jepang.
Kata Kunci: Representasi, anime Banana Fish, hubungan Amerika-Jepang, femininitas, maskulinitas.
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Nedbálková, Kateřina. "Does Prison Have a Gender? Masculinity and Femininity in Prison Subcultures." Czech Sociological Review 39, no. 4 (August 1, 2003): 469–86. http://dx.doi.org/10.13060/00380288.2003.39.4.03.
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Rahwati, Wawat. "Pemerian Alam Sebagai Simbol Femininitas dalam Novel Hana wo Hakobu Imouto." Japanese Research on Linguistics, Literature, and Culture 1, no. 1 (November 28, 2018): 28–47. http://dx.doi.org/10.33633/jr.v1i1.2097.
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This paper discusses about interconnecting nature an women in one of Japanese literary work named Hana wo Hakobu Imouto by Natsuki Ikezawa. He has written numerous novels and through his works such as Hana wo Hakobu Imouto, he depicts upon the relationship between nature and women. through this novel i assume nature can be seen as a representation about femininity and has interconnection with women. According to my assumption, i analyze this novel by employing the culture eco-feminism perspective to aim at showing how nature can be represented as a symbol of femininity through portraying the women characters and the setting of place of the story in this novel. The result is found that the water and iearth as nature elements which have been portrayed dominanly in every setting of places in the story, The water is represended across by river in Paris, rain in Thailand, and sea in Bali show a symbol as a 'mother's womb' called fetus which is very important to protect for someone's life. Meanwhile the earth is representing through rice fields show a symbol of femininity which represent of mother's nurture who protect someone's life.Keyword: cultural eco-feminism, femininity, Hana wo Hakobu Imouto, nature
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Agustina, Pradipta, and Maimunah Maimunah. "Queering The Construction Of Gender Identity In Chris Columbus’ Movie Mrs. Doubtfire." ATAVISME 16, no. 2 (December 30, 2013): 141–52. http://dx.doi.org/10.24257/atavisme.v16i2.89.141-152.
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The construction of traditional gender roles has affected the understanding of being feminine and masculine. This understanding seems to influence gender performance in the film Mrs. Doubtfire. This onehourandfiftysevenminute film was directed by Chris Columbus. This study is conducted to examine how gender performativity is illustrated in the film and what ideology lies within the film. Queer theory, especially gender performativity by Judith Butler is used as the framework of the study. The study is done by observing and analysing chosen scenes from the film focusing on the performance of Daniel Hillard as Euphegenia Doubtfire. Narrative aspect of the film is not only the main concern; the nonnarrative is also part of the analysis especially on costume, makeup, performance and color. The main finding of this study is this film in one hand celebrates traditional gender roles but on the other hand promotes gender as performance. Femininity is pictured as fluid. Therefore, it is also a performativity. The contestation between those two opposing ideas is smoothly wrapped through amusing film such as Mrs. Doubtfire.
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Film Mrs. Doubtfire karya Chris Columbus menampilkan konstruksi yang berbeda dengan konstruksi peran gender yang telah menjadi mainstream. Berdurasi 1 jam dan 57 menit, film ini menampilkan konstruksi maskulinitas dan femininitas yang dapat saling bertukar, cair, dan tidak baku. Studi ini mengkaji dua pertanyaan utama. Pertama, bagaimana konstruksi peran gender digugat melalui performativitas gender? Kedua, ideologi apa yang terdapat dalam film? Teori Queer terutama gender performativitas yang dikemukakan oleh Judith Butler menjadi kerangka penelitian ini. Penelitian ini dilakukan dengan mengobservasi dan menganalisis adegan terpilih dengan berfokus pada penampilan Daniel Hillard sebagai Euphegenia Doubtfire. Aspek naratif dalam film bukan satusatunya perhatian utama. Aspek nonnaratif juga menjadi bagian analisis kostum, tata rias, penampilan, dan warna. Penelitian ini menyimpulkan bahwa film ini pada satu sisi mengonfirmasi peran gender yang tradisional, tetapi di lain pihak juga mencoba menawarkan performativitas gender. Ideologi film ini menggambarkan femininitas sebagai sesuatu yang cair sehingga femininitas juga sesuatu yang sifatnya performativitas. Kontestasi antara kedua hal tersebut disajikan dengan menarik dalam film Mrs. Doubtfire.
KataKata Kunci: konstruksi gender; performativitas gende; teori queer
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Maimunah, Maimunah. "Fluiditas Antara Maskulinitas Dan Femininitas: Representasi Waria Dalam Film Dokumenter Dan Fiksi." ATAVISME 15, no. 1 (June 28, 2012): 1–14. http://dx.doi.org/10.24257/atavisme.v15i1.43.1-14.
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Dunia Waria menjadi salah satu tema yang muncul dalam perkembangan film Indonesia pasca Orde Baru. Penelitian ini mengkaji dua film dokumenter dan sebuah film fiksi yaitu Betty Bencong Slebor karya Benyamin Sueb (1978) serta dua film dokumenter RenitaRenita karya Tony Trimarsanto (2006) dan Ngudal Piwulang Wandu karya Kukuh Yudha Karnanta (2009). Meng gunakan metode penelitian kualitatif dan teori queer dalam membaca media film, hasil penelitian ini menunjukkan bahwa dari ketiga film tersebut terlihat perbedaan dalam memaknai tubuh dan gender. Tokoh Sholeh dalam Ngudal Piwulang Wandu berharap suatu hari nanti kembali menjadi lanang sejati, menikah secara heteroseksual dan memiliki anak. Renita membayangkan tubuh dan identitas gender sebagai perempuan sempurna, sedangkan Betty terlihat menikmati interplay antara tubuh feminine dan maskulinnya. Tubuh dalam konteks ini dapat dilihat sebagai suatu con tinuum, perpaduan antara femininitas dan maskulinitas, bukan suatu entitas yang statis. Perbe daan ketiga tokoh utama dalam memandang tubuh, seksualitas, dan gender mereka juga mere fleksikan bahwa tidak ada identitas dan entitas tunggal dari waria.
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The growing visibility of waria/male to female transgender has become one of the do dominant features in Indonesia’s contemporary film industry. The research examines three waria films: Tony Trimarsanto’s RenitaRenita (2006), Kukuh Yudha Karnanta’s Ngudal Piwulang Wan du (2009), and Benyamin Sueb’s Betty Bencong Slebor (1978). Two basic research questions are, firstly: how is the fluidity of masculinity and femininity represented; secondly how do the waria perceive themselves (selfidentity) in a heterosexual culture. Queer film theory will be used in analyzing the film diegesis. The research finds the fluidity and continuum of the waria main characters in defining the meaning of the self and their bodies. This fluidity offers a playful negotiation to the essentialist concept of gender binary system.
Key Words: waria, film, gender identity
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Zulkarnain, Jaka Ahmad, and Wiyatmi. "Dekonstruksi Femininitas dalam Novel-novel Karya Eka Kurniawan: Dari Pekerjaan Sampai Kecantikan." Poetika 6, no. 2 (December 31, 2018): 109. http://dx.doi.org/10.22146/poetika.v6i2.40188.
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One of the stereotypes of gender is femininity in which it is closely related to women. Femininity with passive characteristic is constructed to limit their moves. In Eka Kurniawan’s novels, the femininity is unstable. It brings an assumption that he is conducting the femininity deconstruction. This research is aimed to find out and to explain the femininity deconstruction in Eka Kurniawan’s novels. Three Eka Kurniawan’s novels were chosen as the data source of this research, they were Cantik Itu Luka, Lelaki Harimau, and Seperti Dendam, Rindu Harus Dibayar Tuntas. This research used critical discourse analysis method with post-modern feminism approach. There are seven forms of femininity deconstructions in Eka Kurniawan’s novels such as feminine jobs, feminine images, feminine habits, feminine symbols, feminine principles, feminine desire, and beauty. Femininity deconstruction shows that femininity has strengths and weaknesses. Femininity is conveyed and practiced either by men and women characters in his novels. Through femininity deconstruction, Eka Kurniawan draws images of how femininity is being deconstructed and how the characters in his novels questioning, rejecting, and or making use of femininity.
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Noviana, Fajria, and Retno Wulandari. "MASKULINITAS DAN FEMININITAS DALAM ANIME KIMI NO NA WA KAJIAN RESPON PEMIRSA." KIRYOKU 1, no. 4 (December 7, 2017): 10. http://dx.doi.org/10.14710/kiryoku.v1i4.10-19.
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Masculinity and femininity are never-ending subjects. This research aims at observing young generation’s perception on masculinity and femininity in Japanese animee Kimi no Na wa. In addition this research also brings input on how young generation reacts on masculinity and femininity. By using viewer’s response method, this research is conducted among 15 (fifteen) Japanese Department students and 15 (fifteen) Engish Department students of Universitas Diponegoro.The finding shows that young generation generally view that there is no significant differences between sex and gender role. Meanwhile, in the relation with the movie, responden assert their agreement on the description of masculinity and femininity through the male and female characters, although generally respondents from English Department prefer East masculinity and West femininity. This view can be used as the basic how older people build relation with young people due to differences in age and point of view.
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Mawaidi, Mawaidi, and Nurhadi Nurhadi. "EKSPLORASI HANTU PEREMPUAN DALAM SIHIR PEREMPUAN KARYA INTAN PARAMADITHA: TELAAH KONSTRUKSI FEMININITAS." Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya 48, no. 2 (April 15, 2021): 167–76. http://dx.doi.org/10.17977/um015v48i22020p0167.
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Permata, Denti, Aquarini Priyatna, and Lina Meilinawati Rahayu. "DINAMIKA MASKULINITAS DAN FEMININITAS DALAM NOVEL SEPERTI DENDAM, RINDU HARUS DIBAYAR TUNTAS KARYA EKA KURNIAWAN." METASASTRA: Jurnal Penelitian Sastra 9, no. 1 (August 18, 2016): 13. http://dx.doi.org/10.26610/metasastra.2016.v9i1.13-24.
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Artikel ini mengkaji dinamika maskulinitas dan femininitas perempuan dalam novel Seperti Dendam, Rindu Harus Dibayar Tuntas karya Eka Kurniawan. Teks novel ini menampilkan tokoh perempuan bernama Iteung mengalami kekerasan seksual oleh gurunya ketika duduk di bangku SD. Efek dari kekerasan seksual tersebut membuat dirinya tumbuh menjadi perempuan tomboy. Semenjak itu, perilakunya selalu berubah-ubah kadang feminin kadang pula maskulin. Kajian ini dilandasi dengan teori maskulinitas perempuan dan tomboyisme Halberstam (1998). Hasil analisis menunjukkan bahwa sikap tomboy Iteung merepresentasikan bentuk negosiasinya terhadap budaya patriarki yang telah melecehkannya.
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Irsyad Ibrahim, Alfi. "MASKULINITAS DALAM NOVEL KELUARGA PERMANA KARYA RAMADHAN K.H. (THE MASCULINITY IN THE RAMADHAN K.H ‘S NOVEL : “KELUARGA PERMANA”)." METASASTRA: Jurnal Penelitian Sastra 6, no. 2 (March 14, 2016): 1. http://dx.doi.org/10.26610/metasastra.2013.v6i2.1-16.
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Tulisan ini membahas maskulinitas dalam novel Keluarga Permana karya Ramadhan K.H. Penganalisisan lebih dahulu diawali dengan asumsi bahwa novel Keluarga Permana mengandung maskulinitas yang diwakili oleh tokoh Permana. Teori yang digunakan dalam penelitian ini adalah maskulinitas dari Connell dan Figes. Teori ini menjelaskan bagaimana maskulinitas terbentuk dari maskulinitas dan femininitas lainnya dalam konteks sosial yang melingkupinya. Teori ini juga mengungkapkan bahwa tidak hanya perempuan yang ter-opresi dalam konteks patriarkat, tetapi laki-laki juga disadari atau tidak terbebani oleh konteks sosial tersebut. Dalam hal ini, maskulinitas Permana terbentuk dari maskulinitas dan femininitas tokoh-tokoh lainnya dalam konteks sosial patriarkat. Hasil penelitian atas novel ini membuktikan bahwa maskulinitas Permana terbelenggu oleh konteks sosial patriarkat sehingga mengalami perubahan.Abstract:This paper attempts to describe masculinity in the Ramadhan K.H’s ’s work entitling Keluarga Permana. The Analysis is begun with the assumption that the Keluarga Permana con- tains masculinity represented by the character of Permana. The theory used in this study is the masculinity theory given by Connell and Figes. The theory explains how the masculinity are formed from other masculinity and femininity in the surrounding social context. This theory also reveal that not only are women in the context of patriarchal oppression, but also men are burdened by the social context. In this case, Permana’s masculinity are formed from other characters of masculinity and femininity in the patriarchal social context. The results of the research prove that Permana’s masculinity was bounded by patriarchal social context in order to get a change.
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Benfatti, Flávia Andrea Rodrigues. "A masculinidade em foco: uma reflexão do tema nas narrativas autobiográficas Tropic of Cancer e Tropic of Capricorn." Revista Eletrônica da ANPHLAC, no. 17 (March 22, 2015): 87–106. http://dx.doi.org/10.46752/anphlac.17.2014.2213.
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ResumoEste artigo discute os conceitos de masculinidade e, em menor escala, femininidade e feminismo no contexto da hegemonia masculina heterossexual resgatando o legado do patriarcalismo que as sociedades ocidentais testemunharam e ainda contribuem para sua perpetuação. Dentro das discussões de gênero e sexualidade, teóricos apontam esse legado patriarcal de forma a nos permitir interpretá-lo como um peso que o homem carrega ao longo de sua trajetória de vida. Nesse sentido, o homem heterossexual sempre precisou e ainda precisa provar sua virilidade a fim de reforçá-la e impedir que outras formas de sexualidade ocupem um espaço que sempre fora seu. Essa hegemonia é, portanto, interpretada dentro das narrativas Tropic of Cancer e Tropic of Capricorn, do escritor norte-americano Henry Miller, ancoradas pelo período entreguerras.Palavras-chave: masculinidade heterossexual; narrativas; Henry Miller.
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Yongtae Kim. "Shakespeare's Titus Andronicus and July Taymor's Titus: Femininized Revenge/Violence and Fearful Mother." Shakespeare Review 45, no. 3 (September 2009): 357–80. http://dx.doi.org/10.17009/shakes.2009.45.3.002.
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Novianti, Nita. "The Heroines of Don Juan." ATAVISME 18, no. 2 (December 25, 2015): 221–31. http://dx.doi.org/10.24257/atavisme.v18i2.117.221-231.
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In spite of the large number of female characters who play the major part in the life of the main character in Byron’s Don Juan, it is still the main character himself, Don Juan, who has garnered great attention from the critics. Hence, the present research will focus on the female characters of Byron’s Don Juan and reveal how their sexuality and femininity are represented. It is found that while there are subversion and challenging of femininity and sexuality, such as female unusual sexual prowess exhibited by Gulbeyaz and some other female characters, it is precisely the challenging of feminine conventions and the inability to suppress their sexuality that lead the female characters to their doom. Meanwhile, the female characters who successfully suppress their sexuality have a better ending, or at least, manage to survive.
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Meskipun terdapat banyak karakter perempuan yang berperan penting dalam kehidupan karakter utama Don Juan karya Byron, tetap saja yang selama ini menjadi pusat perhatian para kritikus sastra adalah karakter utamanya, yaitu Don Juan. Oleh karena itu, penelitian ini akan fokus pada karakter-karakter perempuan dalam Don Juan karya Byron dan mengungkap bagaimana femininitas dan seksualitas mereka direpresentasikan. Ditemukan bahwa meskipun ada sub versi dan penentangan terhadap konvensi femininitas dan seksualitas perempuan, seperti yang ditunjukkan oleh kekuatan seksual Gulbeyaz dan beberapa karakter perempuan lainnya, justru sub versi dan penentangan serta ketidakmampuan mereka menahan seksualitasnya yang membawa karakter-karakter perempuan ini pada kesengsaraan. Sementara itu, karakter perempuan yang berhasil menahan seksualitasnya hidupnya berakhir bahagia, atau setidaknya bisa bertahan hidup.
Kata-kata Kunci: Don Juan; feminitas; karakter perempuan; seksualitas
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Fuady, Moh Faishol. "Pergeseran Makna Warna Pink dari Maskulinitas Menjadi Femininitas di Amerika Serikat Tahun 1940-1970." Jurnal Desain Interior 2, no. 2 (December 29, 2017): 97. http://dx.doi.org/10.12962/j12345678.v2i2.3546.
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Priyatna, M.A., M.Hum., Ph.D., Aquarini. "“I AM A WOMAN”: PORTRAYING WOMANHOOD IN THE AUTO/BIOGRAPHY OF AN INDONESIAN TRANSSEXUAL CELEBRITY." METASASTRA: Jurnal Penelitian Sastra 8, no. 2 (June 6, 2016): 211. http://dx.doi.org/10.26610/metasastra.2015.v8i2.211-224.
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Paper ini mendiskusikan femininitas di dalam auto/biografi selebritas transeksual “Aku Perempuan: Jalan Berliku Seorang Dorce Gamalama” (2005). Auto/biografi ini diterbitkan tahun 2005. Auto/biografi bukan sekadar merayakan karirnya tetapi yang lebih penting lagi adalah untuk menegaskan identitas dirinya sebagai perempuan. Saya berargumentasi bahwa peran feminine yang dituntut dari selebritas perempuan dapat juga di[per]tunjukkan oleh seorang transeksual seperti Dorce Gamalama tetapi dengan tuntutan ditampilkannya bentuk femininitas yang lebih meyakinkan dibandingkan yang dituntut dari selebritas yang secara biologis dilahirkan perempuan. Penelitian ini dilakukan dengan membaca secara dekat, mencermati struktur auto/biografi serta wacana yang ditampilkan. Analisis saya atas auto/biografi Dorce Gamalama ini menunjukkan bahwa persoalan makna perempuan sejati muncul berulang sejalan dengan perjuangan subjek auto/biografis dalam mengklaim identitas feminine yang otentik melalui tubuh, seksualitas dan peran femininnya sebagai ibu dan istri. Penegasan mengenai identitas sebagai perempuan sejati sangat erat dikaitkan dengan Islam sebagai kerangka beragama lokal di Indonesia.Abstract: This paper examines femininity in the auto/biography of a transsexual celebrity, “Aku Perempuan: Jalan Berliku Seorang Dorce Gamalama” (2005). Her auto/biography was published in 2005. The auto/biography is not so much about celebrating her career as it is about endorsing her womanhood. I argue that these feminine roles expected of female celebrities can be performed by a transsexual (M2F) person as Dorce Gamalama but with the need to create a more convincing form of femininity than is required of a “natural” female celebrity. This research is conducted by reading the text closely, paying attention to the structure and the discourse presented. My examination of Dorce’s auto/biography shows that this question about being a real woman recurs as the auto/biographical subject struggles to claim an authentic feminine identity through her body and sexuality as well as through the feminine roles of motherhood and wifehood. This assertion of being a real woman is tightly connected to Islam as Indonesian local religious frame.
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Suwito, Suwito. "RELASI CINTA DALAM TASAWUF." Jurnal THEOLOGIA 24, no. 2 (March 2, 2016): 201–22. http://dx.doi.org/10.21580/teo.2013.24.2.333.
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Abstract: This article discusses the relationship of love in the Sufi perspective. Opositorum Coindencia theory is used to dissect this relationṢip , so that the devil Sufism is seen as a "sparring partner" in human spiritual quality improvement activities. This article shows that the Sufi tradition mainly in Waḥdah al-Wujūd, using imaginal thinking mindset see and understand the duality (bipolar), even though this diversity is unity of opposites. In the context of Sufi, masculinity—whichstated that the dominant sociological—declared substantially have "weaknesses." Because masculinity will not appear if there is no femininity. While in the context of the birth of the universe and the form of anything that is in fact born out of the urge of love that goes on this feminine category. In other words, masculinity will not be born if it is not driven by the feminine aspect. This is the "mystery of immense power" aspect of femininity in Sufi discourse. Thus, there is nothing more superiority between these two aspects. Relation is equal based on and effect of love. Abstrak: Artikel ini membahas tentang relasi cinta dalam perspektif Sufi. Teori Coindencia Opositorum dipakai untuk membedah relasi ini, sehingga dalam Sufisme setan dipandang sebagai “sparing partner” manusia dalam melakukan kegiatan peningkatan kualitas ruhani. Artikel ini menunjukkan bahwa tradisi sufi terutama dalam tasawuf waḥdat al-wujūd, dengan menggunakan pola pikir imaginal thinking melihat dan memahami dualitas (bipolar), bahkan keragaman sekalipun ini adalah unity of opposites. Dalam konteks sufi, maskulinitas—yang dinyatakan yang secara sosiologis dinyatakan dominan itu— secara substansial memiliki “kelemahan”. Karena maskulinitas tidak akan muncul jika tidak ada femininitas. Sementara dalam konteks lahirnya wujud semesta dan apapun yang ada justru lahir karena dorongan cinta yang masuk pada kategori feminin ini. Dengan kata lain, maskulinitas tidak akan lahir jika tidak didorong oleh aspek feminin. Inilah “misteri kekuatan dahsyat” aspek femininitas dalam wacana sufi. Dengan demikian, tidak ada yang lebih superioritas antara dua aspek ini.Relasinya adalah setara berdasar dan akibat dari cinta. Keywords: Waḥdah al-Wujūd, sufi, feminitas, maskulini¬tas, ḥubb.
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Purwanto, Edi. "DIALEKTIKA IMAN KRISTEN DAN KEBUDAYAAN INDONESIA DALAM KAJIAN GEERT HOFSTEDE." Pengarah: Jurnal Teologi Kristen 1, no. 2 (July 31, 2019): 99–111. http://dx.doi.org/10.36270/pengarah.v1i2.9.
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Banyak sisi dari iman Kristen, khususnya Injili dan Konservatif yang bertolak belakang dengan kebudayaan Indonesia berdasarkan hasil kajian dan riset Hofstede. Tujuan studi ini adalah mensintesakan dialektika keduanya menggunakan gagasan Christ above Culture dari Niebuhr. Metode riset ini menggunakan dialektika Hegel untuk mensintesakan hubungan dialektika antara kebudayaan Indonesia dan iman Kristen. Hasil penelitian ini adalah sintesa dari: (1) dialektika antara doktrin keselamatan yang bersifat individualistis dengan kebudayaan Indonesia yang kolektivis; (2) dialektika iman Kristen dengan kebudayaan penghindaran ketidakpastian; (3) dialektika ajaran iman Kristen tentang kesetaraan dan kebudayaan jarak kekuasaan; (4) dialektika nilai maskulinitas-femininitas dalam iman Kristen dengan kebudayaan Indonesia yang feminin; dan (5) dialektika orientasi waktu jangka panjang dan jangka pendek dalam perspektif iman Kristen dan kebudayaan Indonesia. Sejumlah solusi alternatif juga diusulkan sebagai aplikasi praktis sintesa-sintesa tersebut bagi pelayanan Injil di Indonesia yang tidak dapat menghindari interaksi dengan kebudayaan setempat.
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Adji, Muhamad, Dadang Suganda, and Awaludin Nugraha. "REPRESENTASI SISTEM GENDER DALAM PENGOBATAN TRADISIONAL DI JAWA BARAT." Metahumaniora 10, no. 2 (September 30, 2020): 208. http://dx.doi.org/10.24198/metahumaniora.v10i2.28898.
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Indonesia, memiliki beragam jenis pengobatan tradisional yang dapat kita temui di berbagai daerah. Pengobatan tradisional menunjukkan kepercayaan masyarakat Indonesia terhadap jenis pengobatan yang berbasis pada pengetahuan lokal. Dari berbagai jenis pengobatan tradisional yang ditawarkan tergambar pandangan masyarakat Indonesia terhadap sistem gender. Gender mengacu pada identitas, peran, dan relasi yang disematkan pada jenis kelamin laki-laki dan perempuan. Tulisan ini akan menguraikan konstruksi gender yang terepresentasi dalam dunia pengobatan tradisional melalui jenis-jenis pengobatan yang ditawarkan. Dalam penelitian ini digunakan metode kualitatif dengan menggunakan data primer dan sekunder. Dalam menganalisis data penelitian digunakan teori gender. Dari hasil analisis terhadap jenis pengobatan tradisional yang ditawarkan ditemukan bahwa pada umumnya sistem pengobatan yang ditujukan untuk laki-laki berkaitan dengan masalah keperkasaan, sedangkan pengobatan yang tujukan untuk perempuan berkaitan dengan masalah kesuburan. Dengan demikian, dari pengobatan tradisional tergambar konstruksi gender normatif yang berkaitan dengan konsep maskulinitas dan femininitas.
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Alamsyah, Ahmad Fahrudin. "MENYINGKAP FEMINISME PERSPEKTIF AKUNTANSI ISLAM." El-HARAKAH (TERAKREDITASI) 3, no. 1 (January 15, 2018): 41. http://dx.doi.org/10.18860/el.v3i1.4687.
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<p class="Bodytext20" align="left">Modern culture is actually dominated by masculine traits, such as material life, expansive rational, exploitative, competitive, egoistic, quantitative, and so on. Femininity will give a place to masculinity to power while femininity is behind. This is evident from the existence of a comparative study between mainstream accounting and Shari'ah accounting, in an attempt to expose the Ah-Shari'ah feminism that has been marginalized. This paper discusses Islamic accounting perspective as a new paradigm. The essence of Islamic accounting is essentially an attempt to deconstruct modern accounting into a more humanist and value-packed form. Shari'ah accounting is a new technology that shows that social, moral, and spiritual values are an important concern in determining the principles to be developed. Therefore, the concept of accountability in shari'a accounting is more emphasis on two mutually balanced sides of the concept of responsibility in the context of Hamblum minallah and Hamblum minannas. In the first concept is a form of manifestation of worship, which relates between human beings as being with Al-lah as-the Creator. While the second refers more to the existence of human beings as social beings. This form of accountability is manifested in the objectives of shari'ah accounting.</p><p class="Bodytext20" align="left"> </p><p class="Bodytext20" align="left">Budaya modern sebetulnya didominasi oleh sifat maskulin, seperti kehidupan yang material, rasional ekspansif, eksploitatif, kompetitif, egois, kuantitatif, dan sebagainya. Femininitas akan memberikan tempat kepada maskulinitas untuk berkuasa sementara femininitas berada di belakang. Hal ini tampak dari adanya suatu studi komparatif antara akuntansi mainstream dengan akuntansi Syari’ah, sebagai upaya untuk menyingkap feminisme Ah-Syari’ah yang selama ini terpinggirkan. Tulisan ini membahas perspektif akuntansi Islam sebagai paradigma baru. Esensi dari akuntansi Islam pada dasarnya merupakan sebuah upaya mendekonstruksi akuntansi modem ke dalam bentuk yang lebih humanis dan sarat nilai. Akuntansi syari’ah merupakan suatu teknologi baru yang menunjukkan bahwa nilai sosial, moral, dan spiritual menjadi suatu perhatian penting dalam penetapan prinsip-prinsip yang akan dikembangkan. Oleh karena itu konsep akuntabilitas pada akuntansi syari’ah lebih menekankan pada dua sisi yang saling berimbang yakni konsep pertanggunggungjawaban dalam konteks Hamblum minallah dan Hamblum minannas. Pada konsep pertama merupakan bentuk manifestasi dari ibadah, yang berhubungan antara manusia sebagai mahluk dengan Allah sebagai-Sang Pencipta. Sedangkan yang kedua lebih mengacu pada eksistensi manusia sebagai mahluk sosial. Bentuk akuntabilitas tersebut dimanifestasikan dalam tujuan akuntansi syari’ah.</p>
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Battles, Kathleen. "This is UnREAL: discourses of quality, antiheroes, and the erasure of the femininized popular culture in “Television for Women”." Feminist Media Studies 20, no. 8 (September 30, 2019): 1278–92. http://dx.doi.org/10.1080/14680777.2019.1668450.
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Fhebrianty, Nadya, and Roswita Oktavianti. "Representasi Identitas Androgini di Media Sosial." Koneksi 3, no. 1 (December 6, 2019): 274. http://dx.doi.org/10.24912/kn.v3i1.6227.
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Di dalam masyarakat Indonesia, masih banyak terjadi kesalahpahaman mengenai konsep androgini. Androgini memiliki stereotipe homoseksual seperti Lesbi, Gay, Biseks dan Transgender (LGBT). Padahal konsep awal androgini adalah konsep kesetaraan gender antara femininitas dan maskulinitas. Berbagai pandangan pro dan kontra muncul di tengah masyarakat. Namun, saat ini banyak orang yang beridentitas androgini berani memvisualisasikan dirinya di media sosial terutama Instagram. Penelitian ini dilakukan untuk mengetahui proses representasi androgini di media sosial Instagram. Penelitian ini menggunakan pendekatan kualitatif deskriptif, dan menggunakan metode penelitian fenomenologi. Subjek dari penelitian ini adalah tiga informan androgini. Sedangkan objek dari penelitian ini adalah perilaku androgini dalam merepresentasikan diri di media sosial Instagram. Data dikumpulkan dengan melakukan observasi, wawancara dan dokumentasi. Kesimpulan dari penelitian ini adalah androgini merepresentasikan diri di media sosial melalui tiga representasi. Pertama, representasi mental, di mana androgini bersikap acuh terhadap interaksi negatif di media sosial. Selanjutnya, representasi bahasa, di mana androgini memvisualisasikan dirinya dengan penggunaan bahasa yang biasa atau dengan menggunakan simbol-simbol tertentu. Terakhir yaitu representasi sosial, dengan adanya faktor dukungan sosial dari lingkungan sekitar, androgini berani memutuskan untuk terjun ke media sosial.
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Lillelund-Holst, Aleksandra Culap, Nicolai Pharao, and Marie Maegaard. "“Not from a ‘Danish’ home; typical of trying to sound ‘tough’” – Indexical meanings of variation in /s/ and /t/ in the speech of adolescent girls in Copenhagen / “Não é de família dinamarquesa; mas é típico de tentar parecer ‘durona’” – Significados indiciais das variáveis /s/ e /t/ na fala de meninas adolescentes em Copenhague." REVISTA DE ESTUDOS DA LINGUAGEM 27, no. 4 (October 11, 2019): 1701. http://dx.doi.org/10.17851/2237-2083.0.0.1701-1736.
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Abstract: The aim of this article is to examine the social meaning of /s/- and /t/-variation for Copenhagen girls in two different registers. The examined features consist of [s] and [tˢ], which are considered the standard variants, and [s+] and [tʲ] which carry different social connotations. Both variables are examined in the registers modern Copenhagen speech and street language in two different matched guise experiments. Stimuli for both experiments consist of segmentally manipulated natural speech, and experiment 1 was conducted with open responses, while experiment 2 used fixed scales based on experiment 1. Both experiments show that /s/-variation has little to no effect in both registers. This is surprising because [s+] is commonly perceived to index femininity and to be an integrated part of the street register. For/t/-variation, the presence of [tʲ] significantly indexes non-Danish ethnic background and the Western suburbs of Copenhagen, which are traditionally associated with the working class and mixed ethnic backgrounds. Finally, there are significant effects of prosodic frames alone. These link modern Copenhagen speech to intelligence and the Northern suburbs of Copenhagen, which traditionally denote upper middle class, and street language to non-Danish ethnic background, the Western suburbs of Copenhagen, and playing tough.Keywords: indexicality; perception; female speech; sociophonetics; Danish.Resumo: O objetivo desse artigo é examinar os significados sociais das variáveis /s/ e /t/ em dois registros distintos na fala de meninas em Copenhague. As variantes examinadas são [s] and [tˢ], consideradas variantes padrão, bem como [s+] and [tʲ], que veiculam diferentes conotações sociais. Ambas variáveis são examinadas nos registros fala moderna em Copenhague e linguagem de rua, em dois experimentos do tipo matched-guise. Os estímulos para ambos experimentos consistem de trechos de fala natural manipulados, mas o experimento 1 foi conduzido com respostas abertas, enquanto o experimento 2 utilizou escalas, estabelecidas com base no experimento 1. Os dois experimentos mostram que a variável /s/ não tem praticamente nenhum efeito na percepção dos registros. Esse é um resultado inesperado, na medida em que [s+] é comumente percebido como um índice de femininidade e é parte integrante do registro linguagem de rua. Para a variável /t/, a presença de [tʲ] indicia significativamente uma descendência não dinamarquesa e é associada aos subúrbios do oeste de Copenhague, tradicionalmente associados a classe trabalhadora e miscigenação étnica. Finalmente, há efeitos significativos de frames prosódicos, isoladamente: por um lado, fala moderna em copenhague é associada a inteligência e aos subúrbios do norte da cidade (estes últimos, tradicionalmente entendidos como uma região de classe média alta); por outro lado, por meio dos mesmos frames prosódicos, linguagem de rua associa-se a etnia não dinamarquesa, aos subúrbios do oeste de Copenhague, e a uma postura “durona”.Palavras-chave: indicialidade; percepção; fala de mulheres; sociofonética; dinamarquês.
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Rovino, Dery, Michael Jibrael Rorong, and Jai Kishon Goswami. "GENDER PERFORMANCE DISCOURSE ON TINDER PROFILE PICTURES IN LONDON, UK – A SOCIAL SEMIOTICS STUDY." Bricolage : Jurnal Magister Ilmu Komunikasi 6, no. 01 (March 31, 2020): 017. http://dx.doi.org/10.30813/bricolage.v6i01.2065.
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ABSTRACT
Cyclical and bidirectional relationship(s) between technology and today’s romantic gratifications have reformed how people seek romance. On another end, gender performances largely underpin humans’ romantic gratification. This is where Tinder, as a dating application, affords unique opportunities for those seeking romances through portraying gender performances. A number of studies concluded that, in romance-seeking ventures, male’s masculinity and female’s femininity generally remained conformist to their respective biological attributes. Therefore, this study aimed to evaluate nuances of gender performances portrayed in dating apps such as Tinder. Since Tinder profile picture, as a form of visual text, is a source rife with gender performance cues, this study focused on the visual component – profile pictures. Profile Picture Protocol (PPP), derived from notable social semiotics frameworks, was established. This study revealed that, albeit a major affinity towards more saturated bright colors in the observed data, color choices in profile pictures were not conclusive to determine gender performatives, mainly due to possible duality in meanings when other elements (body gestures and clothing choices) were taken into consideration. Formal clothing choices were only found in the male group, which was conformist to the previous studies. Foregrounding bodily features was evident in both male and female group’s profile pictures, which indicated that the male group also exuded an element of femininity, which leaned towards contestating the previous findings. Actors’ angles that were frontal as well as eye-level, indicated a need for social closeness and friendliness emulation, were fashionable in both gender groups, which was initially prevalent in the female group. Limitations were put forth. Keywords; profile picture; visual text, social semiotics, gender performance, Tinder
ABSTRAK
Hubungan siklus dan dua arah antara teknologi dan gratifikasi romantisme dewasa ini telah mengubah cara orang mencari hubungan romansa. Di sisi lain, ekspresi gender umumnya mendukung gratifikasi romantis manusia. Di sinilah Tinder, sebagai aplikasi kencan, memberikan peluang unik bagi mereka yang mencari romansa melalui ekspresi gender. Sejumlah penelitian menyimpulkan bahwa, dalam usaha pencarian romansa, maskulinitas pria dan femininitas wanita umumnya tetap mengikuti atribut biologis masing-masing. Oleh karena itu, penelitian ini bertujuan untuk mengevaluasi ekspresi gender yang digambarkan dalam aplikasi kencan seperti Tinder. Karena gambar profil Tinder, sebagai bentuk teks visual, adalah sumber penuh dengan isyarat ekspresi gender, penelitian ini berfokus pada komponen visual - gambar profil. Profile Picture Protocol (PPP), berasal dari kerangka kerja semiotika sosial terkemuka, dikonstruksikan. Studi ini mengungkap bahwa, meskipun memiliki ketertarikan umum terhadap warna-warna cerah yang lebih jenuh pada data yang diamati, pilihan warna dalam gambar profil tidak konklusif untuk menentukan ekspkresi gender, terutama karena kemungkinan dualitas dalam makna ketika elemen lain (gerakan tubuh dan pilihan pakaian) disertakan dalam pertimbangan. Pilihan pakaian formal hanya ditemukan pada kelompok pria, yang sesuai dengan penelitian sebelumnya. Gambaran tubuh terdepan terlihat dalam gambar profil kelompok laki-laki dan perempuan, yang menunjukkan bahwa kelompok laki-laki juga memancarkan unsur feminitas, yang condong ke arah mengontestasi temuan sebelumnya. Sudut para aktor yang frontal maupun setinggi mata, mengindikasikan keinginan atas kedekatan sosial dan emulasi keramahan, yang umum di kedua kelompok gender, yang awalnya lazim di kelompok perempuan. Keterbatasan penelitian disampaikan. Kata Kunci; teks visual, Semiotika Sosial, performa gender, aplikasi berkencan.
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Mulyono – Santoso, Widjajanti. "Menjadi Perempuan di dalam Sinetron: Kekinian Femininitas." Antropologi Indonesia 30, no. 1 (August 6, 2014). http://dx.doi.org/10.7454/ai.v30i1.3553.
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Logan, TK, Michele Staton, and Carl Leukefeld. "Hyperfemininity, HIV Risk Behavior, and Victimization Among College Aged Females / Hiperfeminidad, conductas de riesgo de VIH y victimización en población universitaria." Health and Addictions/Salud y Drogas 1, no. 2 (December 30, 2003). http://dx.doi.org/10.21134/haaj.v1i2.173.
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Este estudio investiga la hiper-feminidad, la discriminación, y las conductas de riesgo VIH entre mujeres de una edad de universitaria. La escala de la hiper-feminidad se utiliza para medir los papeles roles) tradicionales de los sexos. Los sujetos eran 372 mujeres con una edad media de 19 años, que se habían ofrecido voluntariamente para participar en el estudio con el fin de obtener un crédito de investigación como parte de su clase de Introducción a la Sicología en una universidad de tamaño medio en el Sureste. Se examinaron dos grupos que incluían participantes que alcanzaron una desviación estándar por encima de la media en la escala de la hiper-feminidad (hiper-feminidad alta, n=62) y las que alcanzaron una desviación estándar por debajo de la media (hiperfeminidad baja, n=54). Los resultados demostraron que las mujeres de hiper-feminidad alta tenían significativamente más propensión a haber mantenido relaciones sexuales en los tres meses anteriores, significativamente más propensión a haber consumido drogas y alcohol antes y durante las relaciones sexuales, y tenían peor puntuación en auto-eficacia en el uso de preservativos que las mujeres hiper-femeninas. Las mujeres de hiper-femininidad alta también pre s e n t a ron más experiencias de abuso verbal y más experiencias sexuales coercitivas, pero no experiencias sexuales forzadas que las mujeres de baja hiperfeminidad. Los resultados también indican que las mujeres de alta hiperfeminidad eran más impulsivas y tenían actitudes más favorables hacia el alcohol que las mujeres de baja hiper-feminidad. Además lasmujeres de alta hiper-feminidad pre s e n t a ron mayor consumo de alcohol que las mujeres de baja hiper-feminidad. En general las diferencias entre las mujeres de alta y baja hiper-feminidad indican que una evaluación adicional de este constructo podría proporcionar más información para las intervenciones preventivas en áreas de VIH y posiblemente en la prevención de la discriminación. AbstractThis study examines hyperfemininity, victimization and HIV risk behavior among college aged females. The hyperfemininity scale is used to measure traditional gender roles. Study participants were 372 females with an average age of 19, who volunteered to participate for the study for re s e a rch credit as part of their Introductory Psychology class at a medium sized southeastern university. Two groups were examined which included respondents who scored one standard deviation above the mean on the hyperfemininity scale (high hyperfemininity, n=62) and those who scored one standard deviation below the mean (low hyperfemininity, n=54). Results were that high hyperfeminine women were significantly more likely to have engaged in sexual intercourse in the previous 3 months, significantly more likely to have used drugs or alcohol before and during sex, and had lower condom self - efficacy scores than low hyperfeminine women. Also, high hyperfeminine women had more verbal victimization experiences and sexual coercion experiences, but not forced sexual experiences, than low hyperfeminine women. Results also suggest that high hyperfeminine women were more impulsive and had more favorable attitudes toward alcohol than low hyperfeminine women. Further, high hyperfeminine women reported more alcohol use than low hyperfeminine women. Overall, diff e rences between high and low hyperfeminine women indicate that a further examination of this construct could be informative for HIV prevention interventions and potentially for preventing victimization.
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Rahayu, Mundi. "FEMININITAS GEISHA DALAM NOVEL ARTHUR GOLDEN MEMOIRS OF A GEISHA." EGALITA, May 14, 2012. http://dx.doi.org/10.18860/egalita.v0i0.1980.
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Geisha is an entertaining artist in Japan during Edo period (1603-1868) when cities were growing up and wealthy spread out among merchant class. The wealthy was followed by the building of teathers, restaurants, clothes and several entertaining places. Then, the identity of womanship for a geisha can be easily recognized through her beautiful and elegant performance. This sort of performance which makes geisha is different from other commercial worker women. Her feminity is also shown by her ability to entertain original japanese society that is her ability to play japanese traditional music tools such as drum and shamisen. She is also able to sing and dance. She has also the ability in dringking tea ceremony service. Geisha’s feminity is relatively similar with women’s feminity in common which is agreed by society. What makes them different is that geisha’s feminity is developed professionally and is made as survival way and even as an access to get into broader economics and politics. Ironically, to some extent, that brings a risk for a geisha due to her position as a client for her patronage.
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Luther, Teresa, Carolin A. Lewis, Melina Grahlow, Philippa Hüpen, Ute Habel, Celia Foster, Isabelle Bülthoff, and Birgit Derntl. "Male or Female? - Influence of Gender Role and Sexual Attraction on Sex Categorization of Faces." Frontiers in Psychology 12 (September 21, 2021). http://dx.doi.org/10.3389/fpsyg.2021.718004.
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The categorization of dominant facial features, such as sex, is a highly relevant function for social interaction. It has been found that attributes of the perceiver, such as their biological sex, influence the perception of sexually dimorphic facial features with women showing higher recognition performance for female faces than men. However, evidence on how aspects closely related to biological sex influence face sex categorization are scarce. Using a previously validated set of sex-morphed facial images (morphed from male to female and vice versa), we aimed to investigate the influence of the participant’s gender role identification and sexual orientation on face sex categorization, besides their biological sex. Image ratings, questionnaire data on gender role identification and sexual orientation were collected from 67 adults (34 females). Contrary to previous literature, biological sex per se was not significantly associated with image ratings. However, an influence of participant sexual attraction and gender role identity became apparent: participants identifying with male gender attributes and showing attraction toward females perceived masculinized female faces as more male and femininized male faces as more female when compared to participants identifying with female gender attributes and attraction toward males. Considering that we found these effects in a predominantly cisgender and heterosexual sample, investigation of face sex perception in individuals identifying with a gender different from their assigned sex (i.e., transgender people) might provide further insights into how assigned sex and gender identity are related.