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Journal : IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature

The Social Construction of Colorblind Community in The Blind Side Movie by John Lee Hancock: A Discourse Analysis Laksita Kumala Dewi; Rahayu Puji Haryanti
IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature Vol. 13 No. 2 (2025): IDEAS: Journal on English Language Teaching and Learning, Linguistics and Lite
Publisher : Institut Agama Islam Negeri Palopo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24256/ideas.v13i2.6851

Abstract

This research examines the representation and ideological construction of “Color Blindness” in the film The Blind Side, directed by John Lee Hancock, using Van Dijk’s Critical Discourse Analysis (CDA) approach. The purpose of this study is to answer three main questions: (a) how colorblindness is portrayed in story; (b) How is colorblind community constructed in the story; and (c) How does colorblind community socially construct a power relation in the story. The findings of the analysis demonstrate that The Blind Side not only tells an inspiring story of Michael Oher’s life change but also represents the narrative’s dominance from a white perspective and the inclination to simplify the complexities of racial relations. The portrayal of the Tuohy family as white saviors, as well as Michael Oher being held in stereotypes, subtly emphasizes racial hierarchy. In addition, the movie contains forms of prejudice camouflaged in positive tales, which overlook the context of systemic injustice.  This study adds to media studies by demonstrating how colorblind ideology in popular media may be a tool of symbolic domination, masking issues of racism and socioeconomic inequality. It emphasizes the importance of critical readings of media representations to understand their influence on social constructions of race, power, and identity.
Women’s Subversive Strategies Against Patriarchy in The Modern Thrillers Story Where the Crawdads Sing by Owen and Gone Girl by Flynn Hanissa, Aida; Haryanti, Rahayu Puji
IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature Vol. 13 No. 2 (2025): IDEAS: Journal on English Language Teaching and Learning, Linguistics and Lite
Publisher : Institut Agama Islam Negeri Palopo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24256/ideas.v13i2.6879

Abstract

This article discusses women's subversive strategies against patriarchy in two modern thriller novels, Where the Crawdads Sing by Delia Owens and Gone Girl by Gillian Flynn, using feminist theory with The Madwoman in the Attic as the basis of analysis. This article focuses on how the patriarchal conditions in the two novels give rise to subversive strategies of the female characters in the two novels that represent women and how they impact on the two novels. Based on the text analysis, Amy Dunne uses narrative manipulation and idealized female imagery to assert language as a tool of liberation and reverse power, while Kya Clark uses self-reliance and connection to nature to resist patriarchy and construct an identity beyond social norms. These strategies create complex tensions and conflicts that challenge stereotypes of passive women and present women as creative, empowered and active agents. In summary, these two novels demonstrate that women's resistance to patriarchy can be realized in unique and extreme ways, changing the meaning of women in contemporary literature and enhancing gender dynamics in the thriller genre.
Existential Dilemma in Star Wars: Last Shot Novel by Daniel Jose Older Nugroho, Muhammad Fadhil; Haryanti, Rahayu Puji
IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature Vol. 13 No. 2 (2025): IDEAS: Journal on English Language Teaching and Learning, Linguistics and Lite
Publisher : Institut Agama Islam Negeri Palopo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24256/ideas.v13i2.7257

Abstract

This study investigates the existential dilemmas faced by Han Solo in Daniel José Older’s Star Wars: Last Shot, with a focus on how his struggles with identity, purpose, and responsibility as a father influence his actions and relationships. The research addresses the following questions: How do Han’s existential conflicts manifest in the narrative? In what ways do these struggles impact his relationship with his son, Ben Solo? Using a descriptive qualitative approach, selected passages from the novel are analyzed to identify manifestations of existential conflict, drawing on Matthew Ratcliffe’s theory of existential feelings to interpret Han’s moods and decision-making. Key findings indicate that Han’s lack of role models and emotional distance contribute to repeated mistakes and strained family bonds, particularly with Ben, whose sense of abandonment is illustrated through pivotal scenes. These unresolved issues are shown to play a significant role in Ben’s eventual transformation into Kylo Ren. The study underscores the importance of emotional presence and self-awareness in parenting, suggesting that existential dilemmas can have lasting intergenerational effects. Data was collected through close textual analysis of the novel. Limitations include the focus on a single fictional character, indicating the need for comparative studies in other works or real-life contexts.
Dialectic of Urban and Rural in Modern Japanese Society Portrayed on Kimi no Na Wa (Your Name) by Makoto Shinkai Dava Chrisna Widya Putra Pratama, Varel; Rahayu Puji Haryanti
IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature Vol. 13 No. 2 (2025): IDEAS: Journal on English Language Teaching and Learning, Linguistics and Lite
Publisher : Institut Agama Islam Negeri Palopo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24256/ideas.v13i2.7282

Abstract

This study applies the theory of cultural materialism to explore the dialectical relationship between urban and rural life in modern Japanese society, as portrayed in Makoto Shinkai’s animated film Kimi no Na Wa (Your Name). Grounded in Marvin Harris’ theoretical framework, which emphasizes the interrelation of infrastructure, structure, and superstructure in shaping cultural expression, the research investigates how the narrative constructs, critiques, and reimagines rural-urban dynamics. Employing a descriptive qualitative approach, the study conducts content and thematic analysis of selected quotations, character dialogues, and symbolic scenes. The findings reveal that Kimi no Na Wa represents the fictional village of Itomori as a rural space rooted in spiritual continuity, familial hierarchy, and environmental constraints, while Tokyo is depicted as a technologically advanced, secular, and emotionally distant urban center. The film’s metaphysical and symbolic narrative structure critiques socio-economic disparities and the erosion of traditional values, ultimately suggesting a synthesis between rural and urban identities. The study concludes that Kimi no Na Wa serves both as a cultural mirror and critique, reflecting the shifting socio-cultural landscape of Japan through the lens of cultural materialism. The research offers a novel contribution by demonstrating how Japanese animated media can be interpreted as a site of cultural negotiation and resistance within material and ideological frameworks.
Anthropocentric Symbols in Where the Wild Things Are by Maurice Sendak Ariyanto, Regga Navratilova; Haryanti, Rahayu Puji
IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature Vol. 13 No. 2 (2025): IDEAS: Journal on English Language Teaching and Learning, Linguistics and Lite
Publisher : Institut Agama Islam Negeri Palopo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24256/ideas.v13i2.7480

Abstract

The purpose of this study is to analyze the anthropocentric symbols present in the children's storybook "Where the Wild Things Are" by Maurice Sendak. To explain these symbols, the semiotic theory proposed by Roland Barthes is employed in this study, which explains them through three levels: denotative, connotative, and mythical meanings. This study uses a qualitative research method and a descriptive approach that focuses on the images and words contained in the children's storybook entitled Where the Wild Things Are by Maurice Sendak. The results of this study indicate that the anthropocentric symbols contained in the children's story entitled Where the Wild Things Are by Maurice Sendak have appeared since the beginning of the story, namely since the transformation of Max's bedroom into a forest to Max's exploration of the forest that grew in his room until he was crowned "King of all wild things". These symbols have strengthened the ideological myth that humans are superior and destined to dominate nature.