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All Journal HUMANIS JAPANEDU: Jurnal Pendidikan dan Pengajaran Bahasa Jepang Satwika : Kajian Ilmu Budaya dan Perubahan Sosial
Purba, Esther Risma
Universitas Brawijaya
Arts Humanities Education Languange, Linguistic, Communication & Media

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War in Ippeisotsu’s by Katai Tayama Ramadhani, Ahmad Fikri; Purba, Esther Risma
JAPANEDU: Jurnal Pendidikan dan Pengajaran Bahasa Jepang Vol 6, No 2 (2021): JAPANEDU Volume 6 Issue 2, December 2021
Publisher : Universitas Pendidikan Indonesia (Indonesia University of Education)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17509/japanedu.v6i2.39022

Abstract

The main objective of this research is to analyze the binary opposition contained in Ippeisotsu’s short story to reveal hidden meanings and provide new meanings about the Japan-Russia war of 1904-1905 by using the Jacques Derrida’s deconstructive reading method. This study also connects the context outside the text, namely the historical context to find the position of the work in the midst of the war situation in 1908. Therefore, Michel Foucault’s theory of power regarding discourse is used to see how the discourse related to war, the image of the ideal army, the doctrine of state defense and obedience to the emperor was constructed. Deconstructive reading method will be used to deconstruct the binary opposition found and then describe it by using qualitative descriptive method. The result of this study is there are six binary oppositions found in Ippeisotsu’s short story. These six binary oppositions are used to reveal hidden meanings and to give new meaning to the Japan-Russia war of 1904-1905. The six binary oppositions found are superior (Japan) and inferior (China), leader and follower, subject of command and object of command, brave soldier and fearful soldier, physically strong soldier and physically weak soldier, and the last is the battlefield and civilian life. If this binary opposition is related to aspects outside the text, namely connecting literary works with wartime situations, then the result of the meaning that is revealed in Ippeisotsu’s short story is a critique of the Japan-Russia war.
Cinderella Weight: Tirani Standar Kecantikan dan Body Image di Kalangan Wanita Muda Jepang Shafa Tsaniya Zahrah; Esther Risma Purba
Humanis Vol 26 No 4 (2022)
Publisher : Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (607.855 KB) | DOI: 10.24843/JH.2022.v26.i04.p09

Abstract

As a result of the "kawaii" trend, having a slim body has become one of the beauty standards coveted by young Japanese women. One of the latest diet trend in 2016 and 2018 was the Cinderella weight, a weight standard that is considered as dangerous because the weight count is below the healthy BMI (Body Mass Index). This research was conducted using descriptive qualitative methods and video interviews from the Ask Japanese YouTube channel (2016, 2020, and 2022) regarding Cinderella weight and ideal body weight of young Japanese women were taken as the main data sources. The Theory of Social Construction of Women's Bodies by Sandra Lee Bartky (1990) was used to analyze this phenomenon and prove that beauty is a form of social construction. It was found that numerous of them idealizing Cinderella weight and being slim is still the desire of the majority of young Japanese women. The role of social media and mass media, which feature many female models and artists who are slim also inseparable for the influence.
Mitos dan paradoks diskursus perempuan dalam film horor Kuime (Over Your Dead Body) Cintya Dara Sakina; Esther Risma Purba
Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Vol. 6 No. 2 (2022): Oktober
Publisher : Universitas Muhammadiyah Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22219/satwika.v6i2.22952

Abstract

Genre horor seringkali menghadirkan perempuan sebagai sosok mengerikan dan menakutkan. Penggambaran tersebut berangkat dari mitos tentang perempuan yang sengaja direpresentasikan sebagai sosok yang mengancam laki-laki. Sebagai akibatnya, sosok menakutkan dan mengerikan diidentikkan dengan perempuan. Terkait dengan mayoritas karya bergenre horor yang menampilkan perempuan sebagai sosok yang menakutkan dan mengerikan dengan teror dan penampilannya, horor di Jepang yang biasa disebut dengan  kaidan (怪談) juga masih mempertahankan praktik tersebut. Bahkan dalam kaidan, perempuan dinarasikan dan divisualisasikan secara lebih spesifik, yaitu ditampilkan dalam wujud hantu balas dendam. Terdapat paradoks hantu balas dendam sebagai tokoh jahat dalam cerita yang di sisi lain dimaklumi karena semasa hidupnya ia mengalami ketidakadilan dan penindasan oleh laki-laki. Penelitian ini dilakukan untuk menganalisis film Kuime yang menampilkan bahwa narasi dan visualisasi hantu perempuan Jepang merupakan sebuah diskursus dari pemahaman masyarakat Jepang mengenai perempuan. Metode yang digunakan dalam penelitian ini adalah studi pustaka dengan pendekatan kualitatif menggunakan teori analisis wacana kritis oleh Norman Fairclough. Teori tersebut mencakup analisis deskripsi linguistik dari teks, interpretasi hubungan antara proses diskursif dengan teks, serta hubungan antara proses diskursif dengan proses sosial. Hasil dari penelitian ini adalah terdapat diskursus posisi dan peran perempuan dalam masyarakat Jepang yang memengaruhi pembentukan mitos hantu perempuan pada karya bergenre horor di Jepang.  Dengan adanya diskursus tandingan dalam paradoks hantu dan pembunuh perempuan pada film Kuime, dapat disimpulkan bahwa terdapat perubahan pada pemaknaan perempuan dalam film horor Jepang yang pada awalnya dimaknai sebagai bentuk manifestasi ketakutan laki-laki terhadap perempuan menjadi pemaknaan yang berpusat pada keberdayaan perempuan.    The horror genre often portrays women as terrible Gambars. Women are deliberately represented as a menace to men. As a result, a frightening and terrible Gambar is identified as a woman. Related to the most of horror genre that represents women as terrifying Gambars with terror and grim appearance, Japanese horror, known as kaidan (怪談) also still maintains this practice. In kaidan, women are narrated and visualized more specifically in revenge ghost Gambars. There is a paradox in the vengeful female ghost who is seen as an evil character in the story, but her revenge is understandable because she was wronged and oppressed by men. This research was conducted to analyze Kuime, a Japanese horror film which shows that the narration and visualization of Japanese female ghosts is a discourse on the stereotypes about women in Japanese culture. The method used in this research is a literature study with a qualitative approach using the theory of critical discourse analysis by Norman Fairclough. The theory includes the analysis of the linguistic description of the text, the interpretation of the relationship between the discursive process and the text, and the relationship between the discursive process and the social process. The result of this research shows that discourse about the position and role of Japanese women builds the myth of female ghosts in Japanese horror. By the counter-discourse in the paradox of ghosts and female killers in Kuime, it can be concluded that there is a change in the meaning of women in Japanese horror films, which was interpreted as a manifestation of men's fear of women becoming centered to women's empowerment. 
Wacana Gender dan Relasi Kuasa dalam Cerpen Kuzuha No Issei Karya Matsuda Aoko Cahya Tahta Maghfira; Esther Risma Purba
Humanis Vol 27 No 2 (2023)
Publisher : Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JH.2023.v27.i02.p01

Abstract

This study aims to analyze the issues of gender gap in contemporary Japanese society that represented in the short story of Kuzuha no Issei, along with the things that had been became the roots of these problems. Because the issue of gender gap was influenced by social constructions and stereotypes, this study will use a general gender theory approach and associated with Michael Foucault’s power relations. The result shows there are six gender gap issues that arise in the short story of Kuzuha no Issei. That was ‘women should not stand out’, ‘women and simple jobs’, ‘someone ability was judged by gender’, ‘women as housewives’, ‘demure Japanese women’, and ‘women and men as the victims of government discourses’. This phenomenon was influenced by the patriarchal system, IE, traditional gender stereotypes such as ry?sai kenbo and yamato nadeshiko, as well as the discourses in Japanese society which had been normalized to form doctrines and social constrctions. Penelitian ini bertujuan menganalisa isu-isu kesenjangan gender di tengah masyarakat Jepang kontemporer dalam cerita Kuzuha no Issei, beserta hal-hal yang menjadi akar dari permasalahan tersebut. Karena isu kesenjangan gender ini dipengaruhi oleh konstruksi dan stereotip sosial, maka digunakan pendekatan kritis dengan teori gender dan dikaitkan dengan relasi kuasa dari Michael Foucault. Hasil penelitian ini menunjukkan terdapat enam isu kesenjangan gender dalam cerita Kuzuha no Issei, yaitu perempuan tidak boleh menonjol, perempuan dan pekerjaan sederhana, kemampuan seseorang dinilai berdasarkan gender, perempuan sebagai ibu rumah tangga, perempuan harus menjaga sikap, serta perempuan dan laki-laki sebagai korban diskursus pemerintah. Fenomena ini dipengaruhi oleh sistem patriarki, IE, stereotip gender tradisional seperti ry?sai kenbo dan yamato nadeshiko, serta diskursus dalam masyarakat yang dinormalisasi sehingga membentuk doktrin dan konstruksi sosial.
Makanan Jepang, Identitas, dan Kuasa di dalam Novel Sasamakura Karya Sai'ichi Maruya Esther Risma Purba
Humanis Vol 27 No 3 (2023)
Publisher : Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JH.2023.v27.i03.p05

Abstract

Diskursus identitas Yamato damashii ‘Japanese Spirit’ atau ‘Jiwa Jepang’ mengonstruksi pengetahuan mengenai “orang Jepang”, “budaya Jepang” dan “nasionalisme”. Penelitian ini berfokus pada tokoh utama, Hamada dan dilakukan dengan menggunakan paradigma kritis, yakni membongkar aspek kuasa yang mengkonstruksi identitas Jepang lewat makanan dengan menggunakan teori identitas Stuart Hall dan teori relasi kuasa Foucault. Melalui reintegrasi dan penciptaan kembali, makanan yang awalnya milik asing, dilepas dari identitas awalnya untuk menjadi masakan yang disebut masakan Jepang. Keberadaan pihak lain, yakni Barat melalui makanan menjadi pihak yang dianggap berbeda sehingga diposisikan berhadapan dengan Jepang. Apa yang disebut sebagai nihon ry?ri atau washoku menduduki posisi yang lebih istimewa karena muatan sejarah peradaban makanan yang diklaim memiliki sejarah yang panjang, asli, dan tidak bercampur dengan budaya lain yang dianggap liyan atau inferior. Oleh karena itu, orang Jepang yang dianggap memiliki identitas kejepangan, dianggap merepresentasikan Yamato damashii ‘Jiwa Jepang’ apabila memilih memakan nihon ry?ri dan makan dengan cara atau etiket yang telah ditetapkan.
Representasi Kulit Hitam dalam One Punch Man, The Promised Neverland, dan Shaman King Rahmah, Salsabila; Fatimah, Emma Ramawati; Purba, Esther Risma
Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Vol. 8 No. 1 (2024): April
Publisher : Universitas Muhammadiyah Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22219/satwika.v8i1.32414

Abstract

Blackface di Jepang diperkenalkan oleh orang kulit putih pada tahun 1854 dan mulai diadaptasi sejak tahun 1920-an dalam pertunjukan, layar perak, buku anak, dan mainan di Jepang. Meskipun ditolak oleh aktivis anti-rasisme, blackface kembali muncul beberapa tahun kemudian, diperkuat dengan kurang tegasnya regulasi anti-ujaran kebencian yang mempersulit definisi rasisme di Jepang. Dalam perkembangannya, blackface banyak ditemukan dalam anime produksi tahun 90-an, bahkan setelah tahun 2010, seperti Superalloy Darkshine (One Punch Man, 2015 & 2019), Sister Krone (The Promised Neverland, 2019), dan Chocolove McDonell (Shaman King, 2021) yang menjadi fokus penelitian ini. Penelitian ini bertujuan untuk menganalisis representasi rasial orang kulit hitam dari ketiga anime tersebut yang juga menunjukkan keterkaitan pandangan orang Jepang terhadap orang kulit hitam yang memengaruhi bagaimana mereka menggambarkan orang kulit hitam dalam proses produksi anime tersebut. Metode penelitian yang digunakan adalah dokumentasi dan studi pustaka dengan pendekatan kualitatif menggunakan teori semiotika John Fiske. Teori ini terdiri dari level realitas, representasi, dan ideologi yang menyertakan unsur dari produksi tayangan televisi seperti dialog, pencahayaan, penampilan yang dapat dikaitkan dengan nilai sosial masyarakat. Hasil dari penelitian ini adalah ketiga karakter kulit hitam tersebut serupa dengan karakter kulit hitam budaya populer Barat yang bersifat stereotipikal, yaitu bodoh dan pemarah. Hal ini berkaitan dengan orang Jepang yang mengikuti cara pandang orang kulit putih yang merendahkan orang kulit hitam. Rendahnya pengetahuan orang Jepang tentang dampak rasisme membuat kurang dilibatkannya orang kulit hitam dalam produksi konten anime yang didominasi orang Jepang sehingga representasi tersebut bersifat stereotipikal.   Blackface in Japan was introduced by white people in 1854 and began to be adapted in the 1920s and 1930s in Japanese performances, silver screens, children's books, and toys. Although blackface was considered offensive due to the resistance from anti-racism activists, it reemerged again because of the lack of strict anti-hate speech regulations that complicate the definition of racism in Japan. In its development, blackface is found in many 90s anime, even after 2010, such as Superalloy Darkshine (One Punch Man, 2015 & 2019), Sister Krone (The Promised Neverland, 2019), and Chocolove McDonell (Shaman King, 2021). The research aims to analyze the elements of racial representation of black people from those three anime, which also shows how the Japanese views of black people affect how they portray black people in the anime production process. This study applies a literature study with a qualitative approach using John Fiske's semiotic theory which is suitable for analyzing television products including anime. This theory consists of levels of reality, representation, and ideology that include elements from the production of television shows such as dialog, lighting, and appearance that can be associated with the social values of society. The result of this study is that the three black characters are similar to the stereotypical black characters portrayed in Western popular culture, namely stupid and angry. The Japanese were imitating white racists mocking black people and demeaning black people. The lack of knowledge in addressing and challenging concerns about racism among the Japanese makes black people less involved in the production of Japanese-dominated anime content so that the representation is stereotypical.
Wacana Kecantikan dan Body Image Perempuan di Jepang dalam Akun Instagram La Farfa Magazine Meidhita Irsantri, Farissa; Purba, Esther Risma
Humanis Vol 28 No 4 (2024)
Publisher : Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JH.2024.v28.i04.p05

Abstract

Women's magazines in Japan play a major role in the formation of a discourse that emerges and is normalized in society. This research was conducted using descriptive qualitative method and Visual Methodology Theory of Gillian Rose is used to analyze how La Farfa Magazine in its Instagram social media has values, signs, and context meanings. A comparison with Non-no magazine, which is the dominant beauty and body image reference in Japan, was conducted to highlight La Farfa's differences with mainstream beauty media. The research found that La Farfa Magazine (@lafarfa_jp) has 6 aspects of difference that stand out, namely followers/followers, posts, comments, likes/likes, captions, and models used. The use of idols Naomi Watanabe, Kayo Noro, and news anchor at Nihon Television further expanded the discourse of plus-size beauty by no longer being limited to models to sell fashion for profit.
Co-Authors Cahya Tahta Maghfira Cintya Dara Sakina Fatimah, Emma Ramawati Meidhita Irsantri, Farissa Rahmah, Salsabila Ramadhani, Ahmad Fikri Shafa Tsaniya Zahrah