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All Journal Proceeding of Undergraduate Conference on Literature, Linguistic, and Cultural Studies
Tito Mahesa Wijaya
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Humanities Education Languange, Linguistic, Communication & Media

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Uncovering the Self: Psychological Growth in Loulie al-Nazari’s Journey in The Stardust Thief Tito Mahesa Wijaya; Ambar Andayani
Proceeding of Conference on Literature, Linguistic, and Cultural Studies Vol. 6 No. 1 (2026): Vol. 6 No. 1 (2026): UNCOLLCS: PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND
Publisher : Fakultas Ilmu Budaya Universitas 17 Agustus 1945 Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/pcllcs.v6i1.6942

Abstract

This research investigates the psychological transformation of Loulie al-Nazari, protagonist of Chelsea Abdullah’s The Stardust Thief, by combining Christopher Vogler’s twelve-stage adaptation of Joseph Campbell’s monomyth with Carl Jung’s theory of archetypes. Three aims guide the study: identifying how Vogler’s twelve stages manifest in Loulie’s narrative arc, determining which internal and external factors drive her psychological development, and evaluating the resulting shift in her identity and self-perception. A qualitative descriptive design, supported by close reading and content analysis of the novel as primary data, is used to reach these aims. Results indicate that Loulie’s arc realizes all twelve of Vogler’s stages, opening with a forced call to adventure and advancing through mounting trials before reaching a decisive reckoning with her hidden past inside the ruins of the Queen of Dunes. Jung’s archetypes account for the internal dimension of this development: the Shadow surfaces as the grief she buries after her tribe’s destruction, the Persona takes shape as the Midnight Merchant guise she uses for self-protection, and the Animus emerges in the resilience and nerve she calls upon across the quest. Externally, the surrounding cast enacts Vogler’s archetypal roles, Qadir as Mentor, Omar as Shadow, Mazen as Ally, and Aisha as Shapeshifter. As the narrative closes, Loulie edges toward individuation, reclaiming a name and history she once suppressed and arriving at a more unified sense of self. The research concludes that Abdullah’s novel illustrates the continued cross-cultural relevance of the Campbell–Vogler model.
Uncovering the Self: Psychological Growth in Loulie al-Nazari’s Journey in The Stardust Thief Tito Mahesa Wijaya; Ambar Andayani
Proceeding of Conference on Literature, Linguistic, and Cultural Studies Vol. 6 No. 1 (2026): Vol. 6 No. 1 (2026): UNCOLLCS: PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND
Publisher : Fakultas Ilmu Budaya Universitas 17 Agustus 1945 Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/pcllcs.v6i1.6974

Abstract

This research investigates the psychological transformation of Loulie al-Nazari, protagonist of Chelsea Abdullah’s The Stardust Thief, by combining Christopher Vogler’s twelve-stage adaptation of Joseph Campbell’s monomyth with Carl Jung’s theory of archetypes. Three aims guide the study: identifying how Vogler’s twelve stages manifest in Loulie’s narrative arc, determining which internal and external factors drive her psychological development, and evaluating the resulting shift in her identity and self-perception. A qualitative descriptive design, supported by close reading and content analysis of the novel as primary data, is used to reach these aims. Results indicate that Loulie’s arc realizes all twelve of Vogler’s stages, opening with a forced call to adventure and advancing through mounting trials before reaching a decisive reckoning with her hidden past inside the ruins of the Queen of Dunes. Jung’s archetypes account for the internal dimension of this development: the Shadow surfaces as the grief she buries after her tribe’s destruction, the Persona takes shape as the Midnight Merchant guise she uses for self-protection, and the Animus emerges in the resilience and nerve she calls upon across the quest. Externally, the surrounding cast enacts Vogler’s archetypal roles, Qadir as Mentor, Omar as Shadow, Mazen as Ally, and Aisha as Shapeshifter. As the narrative closes, Loulie edges toward individuation, reclaiming a name and history she once suppressed and arriving at a more unified sense of self. The research concludes that Abdullah’s novel illustrates the continued cross-cultural relevance of the Campbell–Vogler model.
Decoding the Taboo: A Semiotic Look at Bincang Ranjang Tito Mahesa Wijaya; Niken Hafshah Aabidah; Dick Juan Valentino; Ahmad Aqila Farid Fadilla; Muizzu Nurhadi
Proceeding of Conference on Literature, Linguistic, and Cultural Studies Vol. 6 No. 1 (2026): Vol. 6 No. 1 (2026): UNCOLLCS: PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND
Publisher : Fakultas Ilmu Budaya Universitas 17 Agustus 1945 Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/pcllcs.v6i1.6975

Abstract

This study examines the YouTube podcast Bincang Ranjang, an Indonesian show in which guests, mostly women, openly discuss their sex lives, a topic traditionally treated as private and taboo. Using Roland Barthes' semiotic concepts of denotation/connotation, myth, and second-order signification, this research analyzes two texts: a primary episode transcript and a secondary interview with the show's host, Anisa Alatas. The findings show that the show negotiates the line between taboo and public acceptability through a consistent lexicon of euphemism, verbal purification rituals, a visual-verbal contradiction in how the host presents herself, and a moral closure that restores conventional gender norms after each story. These findings suggest that Bincang Ranjang does not eliminate the taboo surrounding sexuality in Indonesian pop culture, but rather constructs a sign system that allows taboo content and public acceptability to coexist.
Co-Authors Ahmad Aqila Farid Fadilla Ambar Andayani Ambar Andayani Dick Juan Valentino Niken Hafshah Aabidah Nurhadi, Muizzu