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All Journal FRANCISOLA JURNAL ILMU BUDAYA International Review of Humanities Studies Franconesia Journal of French Teaching, Linguistics, Literature, and Culture Multikultura
Miranda, Airin
Program Studi Prancis, Universitas Indonesia
Arts Humanities Education Languange, Linguistic, Communication & Media Library & Information Science Social Sciences

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HUMOR SUBVERSIF DALAM VIDEO MUSIK <i>BALANCE TON QUOI</i> OLEH ANGELE Zarkasya, Nur Annisa Khalish; Miranda, Airin
Multikultura Vol. 4, No. 3
Publisher : UI Scholars Hub

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Abstract

The phenomenon of the #MeToo and #BalanceTonPorc hashtags became the focus of attention in various parts of the world in 2017. It was first popularized by Alyssa Milano on her Twitter account using the #MeToo hashtag, and later followed by Sandra Muller with #BalanceTonPorc in France. The feminist movement on social media inspired many artists and musicians, including Angèle, a singer from Belgium. She released a song and music video titled "Balance Ton Quoi" (2019), in which she expressed that the activist spirit of feminism resides within her, turning her song into a feminist anthem. The messages conveyed in her music video are often wrapped in subversive humor. This research aims to demonstrate how subversive humor in the "Balance Ton Quoi" music video can be a form of resistance against sexism. The qualitative research method by Creswell & Poth (2016) is used, focusing on the corpus of Angèle's music video "Balance Ton Quoi." The research draws upon various theories, including Barthes' semiotics (1957) from the book "Mythologies," Kramer's subversive humor (2015), and Scott's notions of public and hidden transcript (1992). Five selected scenes of subversive humor are analyzed, and the results show that the ratio of public to hidden transcript is 2:4. Public transcript is predominantly used not only for educational purposes but also to bring about broader social change, expose injustices, and build solidarity among victims and supporters to attract a larger audience. Moreover, the message must first reach the objects of sarcastic mockery in the music video, namely, adherents of patriarchal ideology, men, and sexual harassers.
RAPHAEL SAY DAN <i>NON-TOXIC</i> MASCULINITY DALAM DUNIA MODE PRANCIS Shabira, Layyina Arifah; Miranda, Airin
Multikultura Vol. 4, No. 4
Publisher : UI Scholars Hub

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Abstract

Non-Toxic Masculinity kini menjadi wacana penting dalam merespons maskulinitas tradisional yang kaku dan menekan. Penelitian ini menganalisis bagaimana Raphaël Say, model dan influencer asal Prancis, merepresentasikan bentuk maskulinitas yang lebih inklusif dan gender-fluid melalui platform media sosial Instagram dan TikTok. Dengan menggunakan Analisis Wacana Kritis oleh Fairclough (1995), Semiotika Roland Barthes (1957), dan Teori Performativitas Judith Butler (1990), analisis ini mengungkap bagaimana Raphaël Say membangun narasi maskulinitas baru yang ekspresif, lembut, dan menantang norma gender hegemonik. Melalui visual, gaya berpakaian, bahasa tubuh, serta narasi digital yang ia tampilkan secara konsisten, Say memanfaatkan media sosial sebagai ruang resistensi terhadap konstruksi gender biner dalam industri mode Prancis. Hasil penelitian menunjukkan bahwa representasi tersebut tidak hanya menjadi bentuk ekspresi diri, tetapi juga praktik sosial yang turut membentuk wacana maskulinitas kontemporer. Temuan ini memperkuat peran media sosial sebagai arena politik budaya yang membuka ruang bagi performa identitas yang lebih cair dan progresif.
The Representation of Kartini’s Values in the Diasporic Woman in Rosita Sihombing’s Luka di Champs-Élysées Miranda, Airin
Franconesia Vol. 4 No. 2 (2025): Franconesia: Journal of French Teaching, Linguistics, Literature and Culture
Publisher : Program Studi Pendidikan Bahasa Prancis FBS UNJ

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/franconesia.42.2

Abstract

Using the novel Luka di Champs-Élysées by Rosita Sihombing as the corpus, this study aims to identify the local cultural values inspired by Kartini that are represented through the negotiation of global and Indonesian values by the main character, Karima. This research employs a qualitative method with a structural approach as proposed by Robert Stanton (2007) and Burhan Nurgiyantoro (2018), along with transnational feminist theory (Mohanty, Yuval-Davis, and Grewal & Kaplan). These frameworks are connected to Kartini’s values as reflected in her letters (Djojonegoro, 2024) and the field interview findings by the Research Group on Gender, Cultural Identity, and Diaspora, Faculty of Humanities, Universitas Indonesia (2025). The findings reveal that Karima represents Indonesian women in the transnational world who continuously negotiate their identity without being uprooted from their cultural origins. In Karima, Kartini’s values manifest as reflective actions grounded in morality, existential courage, and social responsibility. Karima’s spirituality and religiosity enrich the interpretation of Kartini’s values in the modern context, as her religious experience becomes an integral part of her empowerment and self-recovery process. Therefore, Luka di Champs-Élysées presents a reinterpretation of Kartini’s Indonesian values in the global era—embodying courage, faith, empathy, and social responsibility that remain relevant for contemporary Indonesian women living in transnational spaces.
Co-Authors Astrid Vionisa Casondra Esmano, Syifa Radhityani Karlina Dewi, Riza Laksman, Myrna Nabilah Kautsar Nasution,, Diella Amanda Salsabila, Dyanisa Ramadhani Shabira, Layyina Arifah Siti Aisyah Siti Aisyah Tresia, Melpa VERONICA VERONICA Zarkasya, Nur Annisa Khalish