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All Journal Journal of English Language Studies Journal of Language and Literature Journal of Feminism and Gender Studies (JFGS)
Muhammad Dirgantara Esa Valentino Am
University of Chicago
Arts Humanities Languange, Linguistic, Communication & Media Social Sciences

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A Reading of the Third “Vespers” by Louise Glück Muhammad Dirgantara Esa Valentino Am
Journal of Language and Literature Vol 20, No 1 (2020): April
Publisher : Universitas Sanata Dharma

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (808.469 KB) | DOI: 10.24071/joll.v20i1.2335

Abstract

This paper presents a reading of the third “Vespers,” a poem by Louise Glück collected in The Wild Iris, a book of poem sequence spoken by four different voices, dealing with the fact of human existence in the world, especially in terms of human existential suffering. To this date, this award-winning book has been considered by many to be among the poet’s greatest achievements. This being the case, there have been so few detailed readings of the 54 poems constituting the book, however.  Most of the existing scholarships on the poems are topic-centered rather than poem-centered. This article attempts to make its contribution to this by presenting a close reading of one of the poems, which is especially central to this polyphonic book both thematically and structurally. Assuming the critical premises and the analytical procedure of Helen Vendler, whose focus is on a poem’s intrinsic elements and its relations to its thematic features, the paper discusses the third “Vespers”’s theme as expressed by both its obvious and minute features. By analyzing the poem’s title, body, internal structure, diction, tense, mechanic, rhythm, syntax, and imagery, the paper concludes that the poem expresses and dramatizes, through the obvious and minute details, the perennial theme of human’s pining for explanation about his/her discontent, which in the cosmos of the poem is directed to God, and its attendant feelings of doubt and conviction as a result of having to come up with his/her own answer as the one who holds the definite answer stays silent.
Modes of Address in the First Edition of Thomas Hardy’s “Poems of 1912-13” Muhammad Dirgantara Esa Valentino Am; Muhammad Agus Hardiansyah
Journal of English Language Studies Vol 7, No 2 (2022): Available Online in September 2022
Publisher : English Department - University of Sultan Ageng Tirtayasa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30870/jels.v7i2.13561

Abstract

The use of place and of time as organizing forms in “Poems of 1912-13”, first appeared in Satires and Circumstances (1914), have been discussed by other readers. The modes of address and their expressive significances as one of the sequence’s expressive vehicles, however, have not been. It is important to discuss the modes of address as it deepens the readers’ understanding of the elegiac sequence whose status occupies a prominent place in the poet’s oeuvre. In discussing the modes of address in “Poems of 1912-13,” the descriptive-interpretive close reading method was used. Although the paper’s focus is on the modes of address, other textual features were also analyzed where relevant.   Five modes of address--i.e. the second-person, the third-person, the ‘ventriloquizing’, the ‘composite’, and the ‘unique’--are identified and described. These modes of address, furthermore, are proposed to signify and dramatize Hardy’s hauntedness in the beginning, the ways he comes to terms with that state in the middle, and the peace he arrives at in the end. The second-person mode signifies Hardy’s hauntedness. The third-person mode signifies and dramatizes his first strategy to solve the problem. The ‘ventriloquizing’ mode signifies and dramatizes his second strategy. The ‘composite’ mode signifies and dramatizes his third and final strategy. Finally, the ‘unique’ mode signifies and dramatizes his peaceful state in the end. The paper is concluded by raising the issue of the poet’s later addition to the sequence’s first version and by pointing out further aspects of the sequence to be explored.
“Life in Plastic, but Patriarchy isn’t Fantastic”: Barbie (2023) as a Confrontation of Gender Inequality Alifia, Jacklyn Meiliana; Widjayanti, Ellita Permata; Am, Muhammad Dirgantara Esa Valentino
Journal of Feminism and Gender Studies Vol. 6 No. 1 (2026): Journal of Feminism and Gender Studies
Publisher : Pusat Studi Gender Universitas Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19184/jfgs.v6i1.53698

Abstract

This study explores how Barbie (2023), directed by Greta Gerwig, critiques gender inequality and the persistence of patriarchal values through its story and imagery. By applying Laura Mulvey’s concept of the male gaze and Sylvia Walby’s framework of patriarchal structures, the research investigates how the film reconstructs ideas of femininity and masculinity. Using a qualitative descriptive approach, the analysis focuses on dialogue, visual framing, and narrative structure across both Barbie Land and the real world. The findings reveal that the film questions objectification and rigid gender norms, expressing a feminist message that values independence, emotional depth, and self-awareness. This study also highlights how popular cinema can act as a medium for challenging patriarchal narratives and supporting feminist perspectives within mass culture.
Co-Authors Alifia, Jacklyn Meiliana Muhammad Agus Hardiansyah Widjayanti, Ellita Permata