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All Journal Jurnal Ilmu Komunikasi JAS (Journal of ASEAN Studies) Rubikon: Journal of Transnational American Studies ATAVISME JURNAL ILMIAH KAJIAN SASTRA Masyarakat, Kebudayaan dan Politik Jurnal Studi Komunikasi Jurnal Representamen JURNAL EDUCATION AND DEVELOPMENT JENTERA: Jurnal Kajian Sastra The Journal of Society and Media Jurnal Sosiologi Dialektika
Diah Ariani Arimbi
Universitas Airlangga, Surabaya
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences

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POETIC JUSTICE DALAM KARYA-KARYA SAPARDI DJOKO DAMONO: SEBUAH AJARAN MORAL DALAM MENJALANI HIDUP Diah Ariani Arimbi
JENTERA: Jurnal Kajian Sastra Vol 3, No 1 (2014): Jurnal Jentera
Publisher : Badan Pengembangan dan Pembinaan Bahasa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26499/jentera.v3i1.431

Abstract

Sapardi Djoko Damono or Sapardi is known as one of the greatest poets in the world of Indonesian literature whose works are full of intensity in the quest of moral conduct and moral virtue.  Reading works of Sapardi parallels to read teachings of morality: of how one should live in the world with full moral responsibilities. One major issue Sapardi always tackles in his works is the notion of poetic justice. As a literary device, poetic justice always sees that the right will win in the batttle against the wrong, and eventually truth will prevail.  In the perspective of Martha Nussbaum: a philosopher who believes that literature signifies important position in establishing social justice, poetic justice may function essentially as moral conduct human beings long for. The works of Sapardi will be analyzed using close reading technique as one method in literary reading and analysis. Sapardi’s works, be it his poems, lyrical proses, or short stories propose human struggles in search for truth and social justice. Using poetic justice in scrunitizing the works of Sapardi one can easily understand that in the battle between the virtue versus the vice, the virtue will win and be rewarded while the vice will be defeated and punished, and often virtue will replace vice in ironic twist. Sapardi’s works also show that in the quest of truth, sacrifice is necessary action as through sacrifice transformation from bad to good will take place. Abstrak Sapardi Djoko Damono atau yang dikenal sebagai Sapardi adalah salah satu pujangga besar yang sangat produktif dalam dunia sastra Indonesia. Membaca karya Sapardi seperti membaca pencarian moral karena karyanya, baik puisi, prosa liris, maupun cerita pendek sarat dengan ajaran moral. Salah satu isu utama yang selalu muncul dalam karya Sapardi adalah keadilan puitis, yaitu dalam pertarungan antara kebaikan dan kejahatan pada akhirnya kebaikan dan kebenaran selalu muncul. Itulah yang dikatakan sebagai keadilan puitis (poetic justice) dalam perspektif Marta Nussbaum, seorang filsuf yang selalu menggunakan sastra sebagai sarana dalam membangun keadilan sosial. Dengan menggunakan pemikiran Nussbaum tentang pentingnya sastra sebagai pembentuk ajaran moral dan panduan moral dalam kehidupan seseorang, tulisan ini membedah karya Sapardi, baik yang berupa puisi, prosa liris, maupun cerita pendek. Terbukti bahwa karya Sapardi tidak pernah lepas dari pergulatan manusia dalam mencari kebenaran dan keadilan sosial. Dengan menggunakan metode pembacaan sastra yang dikenal sebagai teknik pembacaan mendalam (close reading technique) tulisan ini akan menggunakan perangkat sastra, yaitu poetic justice yang sering kali muncul melalui pembalikan posisi dari awal yang baik kalah dan menjadi pemenang pada akhirnya dan yang awalnya kejahatan menang tapi kalah pada akhirnya. Melalui karya-karyanya Sapardi mengingatkan kita sebagai pembaca bahwa kebenaran akan selalu menang pada akhirnya dan kebenaran membutuhkan pengorbanan karena melalui pengorbanan itulah transformasi dari yang buruk menjadi yang baik akan terjadi. 
Aesthetic Clinic and Beauty Myths in Indonesia: Discourse Analysis of Beauty Representation in Instagram Accounts Refti Handini Listyani; Anggaunita Kiranantika; Diah Ariani Arimbi; Emy Susanti
The Journal of Society and Media Vol. 7 No. 2 (2023): Social Media Use for Decision Making
Publisher : Department of Social Science, Faculty of Social Science &Law, Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/jsm.v7n2.p514-545

Abstract

This study analyzed beauty myths on Instagram accounts of three aesthetic clinics in Indonesia using Sara Mills' critical discourse analysis. Results showed that First, the women were characterized as an object and became the victims, and beauty standards were reconstructed and reproduced by the subjects, namely the Instagram accounts of @dermaster_id, @ertosbeautyclinic, and @natashaskincare aesthetic clinics. Women objectification could not be separated from the existing beauty myth. Second, there were two categories of beauty representations formed in the three Instagram accounts, namely men's beauty representation that consisted of smooth faces, young looks, and firm jaws, and women's beauty representations that consisted of thin cheeks, firm jaw, firm skin, smooth, acne-free, attractive skin, glass skin, and slim, and halal beauty. The study is expected to enrich the repertoire of social science, especially sociology, and develop research on the sociology of the body, feminism study, and the sociology of gender and media.
Diaspora weavers: Collective memory and identity of Pagatan Weaving South Kalimantan Hidayah, Sri; Saptandari, Pinky; Arimbi, Diah Ariani
Jurnal Sosiologi Dialektika Vol. 19 No. 2 (2024): Jurnal Sosiologi Dialektika
Publisher : Department of Sociology, Faculty of Social and Political Sciences, Universitas Airlangga

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20473/jsd.v19i2.2024.153-166

Abstract

This study aims to analyze more deeply the collective memory of Bugis weaver community in Pagatan through the form of creating weavers’ works that are not only a residue of the past, but also as a representation of the memories collected for their sustainable cultural identity. This research is based on Bugis community in Pagatan as an illustration of diaspora community that continues to carry out its traditions from their ancestors. This research uses qualitative methods, namely observation, in-depth interviews, and FGD (Focus Group Discussion). The purposive technique is carried out to identify informants that have been determined based on the research objectives. This study was analyzed using Maurice Halbwachs’ collective memory theory which said that collective memory embedded in the collective mind of the community forms the story of the past as part of the social identity of the community. This research finds that the systematic sequence of the past is like a collection of threads that are intertwined at a certain time, woven into one and cannot be separated from the present point of view. This research concludes that weavers are also able to manage its collective memory by expressing it through forms of Pagatan Weaving motifs as a strategy to survive its identity.
Akurasi Visual Proklamasi Kemerdekaan Republik Indonesia di Mata Chat GPT Ambat, Yeremia Tulude; Khusyairi, Jhony Alfian; Arimbi, Diah Ariani
representamen Vol 11 No 01 (2025): Jurnal Representamen Volume 11 No 01 April 2025
Publisher : Universitas 17 Agustus 1945 Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/representamen.v11i01.12781

Abstract

In today's era, Artificial Intelligence is increasingly entering into the layers of society, including the historical aspect. This study aims to analyze the accuracy of the illustration of the Proclamation of Indonesian Independence 1945 produced by ChatGPT using a qualitative research approach with Ferdinand de Saussure's semiotic analysis research method. This study found that the illustrations produced by AI were historically inaccurate, both in the depiction of the proclaimer, clothing, crowds, and main symbols such as the red and white flag. In addition, although some aspects, such as people's clothing, are close to the facts, most of the illustrations show deficiencies in conveying the true meaning of history. This distortion creates hyperreality, where the resulting visual elements reflect the algorithm's interpretation more than historical facts. This study also highlights that the inaccuracy is due to the limitations of AI in understanding cultural and historical contexts in depth. AI illustrations tend to function as symbolic metaphors rather than factual representations, obscuring the original meaning of events. That makes AI categorized as popular culture, which makes it inauthentic and unoriginal. It shows that AI still requires human intervention to ensure cultural and historical accuracy. This study concludes that the use of AI in representing historical events requires critical oversight to prevent the spread of biased or misleading information. The study emphasizes the need for collaboration between technology and human interpretation to maintain the accuracy of historical information.
REPRESENTASI PEREMPUAN DALAM IKLAN SUNSILK HIJAB ANTI KETOMBE: ANALISIS WACANA KRITIS SARA MILLS Ratnaduhita, Cintya; Arimbi, Diah Ariani; Srimulyani, Nunuk Endah
JURNAL EDUCATION AND DEVELOPMENT Vol 13 No 3 (2025): Vol 13 No 3 September 2025
Publisher : Institut Pendidikan Tapanuli Selatan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37081/ed.v13i3.7354

Abstract

Penelitian ini bertujuan untuk mengungkap representasi perempuan dalam iklan Sunsilk Hijab Anti Ketombe dengan menggunakan pendekatan kualitatif deskriptif dan teori analisis wacana kritis Sara Mills. Fokus kajian ini meliputi posisi subjek, objek, dan pembaca dalam wacana iklan serta bagaimana bahasa dan visual membentuk citra perempuan. Data penelitian berupa video iklan Sunsilk Hijab Anti Ketombe yang diambil dari kanal YouTube resmi Sunsilk Indonesia. Teknik pengumpulan data dilakukan melalui observasi, yaitu menonton, mencatat, dan mengidentifikasi elemen visual dan verbal yang relevan. Analisis data menggunakan teori Sara Mills, dengan menelaah hubungan antara teks dan gambar untuk mengungkap makna ideologis yang terkandung. Hasil penelitian menunjukkan bahwa iklan ini merepresentasikan perempuan berhijab sebagai subjek aktif yang tetap dinamis meski menghadapi masalah ketombe. Produk Sunsilk diposisikan sebagai solusi yang menghormati identitas mereka dan memberikan kenyamanan. Pembaca diposisikan sebagai individu yang mencari solusi praktis atas masalah ketombe, khususnya bagi perempuan berhijab. Kesimpulannya, iklan ini tidak hanya menawarkan produk, tetapi juga membentuk wacana mengenai peran dan identitas perempuan berhijab dalam ruang publik, serta membangun citra perempuan modern yang tetap aktif, bersih, dan percaya diri.
THE FEMININE LABEL, THE MASCULINE VOICE: BADDIECORE AND THE RACIALIZED GENDER CONSTRUCTION OF GENRE IN DIGITAL METAL COMMUNITIES Belia, Athaya Prita; Meyrasyawati, Dewi; Arimbi, Diah Ariani
Rubikon : Journal of Transnational American Studies Vol 12, No 2 (2025)
Publisher : Pengkajian Amerika, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/rubikon.v12i2.109142

Abstract

On 18 August 2023, “Baddiecore” emerged as a fan-coined label described as “metalcore with enough pop music crossover and sex appeal that normie hot people like it,” according to a viral X post by Craig Reynolds. Although bands like Sleep Token, Bad Omens, and Spiritbox were initially associated with the term, “Baddie” itself is rooted in Black American digital and feminist culture. This creates a tension when the genre is visually and sonically dominated by white male artists. This study examines how Baddiecore reflects the gendered construction of genre in digital metal communities, using the framework of postfeminist sensibility. Employing content analysis, the study draws 108 public posts on X between August 2023 and December 2024, using keywords like “Baddiecore” and associated band names. Findings show that Baddiecore was initially met with contestation due to its feminized tone but later gained acceptance, particularly among women fans engaging through merchandise and aesthetic participation. However, genre ownership remains centered around white male artists, with only two solo women and one female-fronted band visibly linked to the term. Ultimately, Baddiecore reveals how genre can operate as a site of aestheticized neoliberal femininity, shaped yet remains a space historically dominated by white, male voices.
Co-Authors Adji, Alberta Natasia Alberta Natasia Adji Ambat, Yeremia Tulude Anggaunita Kiranantika Belia, Athaya Prita Daniel Susilo Dewi Meyrasyawati Dwi Prasetyo Emy Susanti Hidayah, Sri Khusyairi, Jhony Alfian Kukuh Yudha Karnanta Mein Woei Suen Myrtati Dyah Artaria Nunuk Endah Srimulyani Nur Wulan Nur Wulan, Nur Pinky Saptandari, Pinky Puspitasari, Sendy Krisna Rahma Sugihartati Ratnaduhita, Cintya Refti Handini Listyani Saptandari EP, Pinky Setijowati, Adi Sharyn Graham Davies Srinarwati, Dwi Retnani Sugihartati, Rahma