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Pasopati, Rommel Utungga
English Literature Department, University Of Dr. Soetomo Surabaya, East Java, Indonesia
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The Relevance of Perpetual Peace in Henry van Dyke’s Ashes of Vengeance Putriana, Kadek Olivia Novi; Zaky, Raffi Ahmad; Hamdani, Farham Nazhib; Salsabila, Anindya Thalita; Pasopati, Rommel Utungga
SALIENCE: English Language, Literature, and Education Journal Vol 4 No 1 (2024): May
Publisher : STKIP PGRI Ponorogo Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.60155/salience.v4i1.397

Abstract

This paper explores the concept of perpetual peace in Henry van Dyke's flash fiction entitled Ashes of Vengeance. The story revolves around the harsh city of Dun, where a man, known as the avenger, seeks revenge for the death of his family. He escapes prison and offers a secret pathway to take over the city to the chief of the besiegers, Alaric. However, upon seeing the city's current state, he changes his focus to peace. Then, how is perpetual peace related in Henry van Dyke’s Ashes of Vengeance? Through Immanuel Kant's theory of perpetual peace, stable peace occurs when all people, governed by universal rule of law, rather than proprietary rulers. In this story, the proprietary ruler is represented by the people of Dun, while Alaric represents the person who wishes to rule according to universal law. Using qualitative analysis, the paper concludes that individuals can achieve stable peace if people do not commit an act that would make a possibility of peace impossible for the future, and that perpetual peace will gradually be achieved.
The Preservations of Grief in Karen Jones’ The Anatomy of The Aftermath Pasopati, Rommel Utungga; Aprilla, Evania Nur; Wijaya, Kusuma; Kartiningsih, Rindrah; Hariyono, Hariyono
SALIENCE: English Language, Literature, and Education Journal Vol 4 No 2 (2024): November
Publisher : STKIP PGRI Ponorogo Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.60155/salience.v4i2.431

Abstract

This paper is focusing on the representation of Grief in the short story of Anatomy of the Aftermath by Karen Jones. Grief is an emotional experience triggered by the loss of something or someone that a person loves, often involving the process of detachment. Then, grief also helps individuals feel closer to the object of love, honor their memories, or fill the void left behind. Karen Jones' flash fiction explores the story of a woman who feels sadness, regret, and longing for her husband's voice after his death. Through qualitative method, this article explores symbols and motifs of the woman's desire to hear her husband's voice and the love that still exists between them despite their separation. Through Kubler Ross’ theory of grief, this paper suggests that if a person can navigate the process well, they can experience normal and healthy grief. In conclusion, it is noted that grief could have two faces of being constructive and destructive. Both aspects are thickly indicated in Jones’ flash fiction.
The Vitality of Reality Distortion in Tim Burton’s The Nightmare Before Christmas Kurniawati, Wiwin Anggraeni; Siadari, Yoshua Veron Handika Putra; Pasopati, Rommel Utungga; Andharu, Devito; Fadillah, Muhammad Reza Ishadi
SALIENCE: English Language, Literature, and Education Journal Vol 5 No 1 (2025): Mei
Publisher : STKIP PGRI Ponorogo Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.60155/salience.v5i1.527

Abstract

This writing investigates about the distorted reality portrayed in the Tim Burton’s movie called The Nightmare Before Christmas. The film follows the misadventures of Jack Skellington, Halloweentown's beloved pumpkin king, who has become bored with the same annual routine of frightening people in the "real world.” When Jack accidentally stumbles on Christmas town, all bright colors and warm spirits, he plots to bring Christmas under his control by kidnapping Santa Claus and taking over the role. The theory behind the world portrayed in The Night Before Christmas is about distorted reality that is a term used to describe a phenomenon where perceptions of reality are altered or distorted in some way. Using a qualitative method and explorative approach, this essay analyses the distorted reality showed in the Halloween Town. The architecture is angular with distorted shapes and lines reflecting the way Burton felt as an outcast and the way society views the strange and different. Moreover, the characters in the film live in a world of perpetual horror and ‘nightmarishness’, but that is their comfort and normality. In conclusion, The Nightmare Before Christmas indicates that reality distortion may not always be eerie, but may mean to reflect ‘otherness’ and unique perspectives of another world.
Revenge and/or Justice in Quentin Tarantino’s Film Inglourious Basterds Mulyanto, Luke Zefanezra; Napitupulu, Johanes Claudio Perdana; Pasopati, Rommel Utungga; Hariyono, Hariyono; Wijaya, Kusuma
SALIENCE: English Language, Literature, and Education Journal Vol 5 No 1 (2025): Mei
Publisher : STKIP PGRI Ponorogo Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.60155/salience.v5i1.531

Abstract

This article describes the senses of revenge and/or justice in Inglourious Basterds, particularly through the characters of Shoshanna Dreyfus, Aldo Raine and the Basterds, and Hans Landa. Universal Pictures released this 2009 film directed by Quentin Tarantino. The writers of this article employ a qualitative method, which allows the reader to learn more about the object's background. These revenge and/or justice scenes describe how revenge and/or justice intertwine in this film. The characters play great actings by indicating that such retaliation is always meaningful, giving inner satisfaction but also contains such justice to the perpetrator. Taking revenge in this film then means as a tool to realize the best way to eliminate the roots of evil that is in line with realizing justice either. In conclusion, the senses of revenge and/or justice in Inglorious Basterds is interpreted flexibly by underlining the characters’ dialogues alongside the ambience of the Nazis’ deeds in World War II.
EXPLORING INDONESIAN RELIGIOUS TOLERANCE AND ORIENTATIONAL PLURALISM THROUGH BARASUARA’S "HAGIA" Anadza, Hirshi; Rommel Utungga Pasopati; Syarifuddin
Al-A'raf : Jurnal Pemikiran Islam dan Filsafat Vol. 20 No. 2 (2023)
Publisher : UIN Raden Mas Said Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22515/ajpif.v20i2.7676

Abstract

This study aims to provide a comprehensive understanding of how Barasuara's Hagia manifests religious tolerance and orientational pluralism in Indonesia. It is important to highlight that the responsibility for religious tolerance and pluralism extends beyond leadership to every stratum of society. By leveraging music as a vehicle to promote pluralism and instill values within individuals at their core, this approach may prove to be more effective than other governmental-implemented formalized methods. Religion can impact the behavior of young people, who are more ardent than older people, who are more cautious. By applying a qualitative approach, this study shows how orientational pluralism in the Hagia of Barasuara exemplifies religious tolerance. Through the emphasis on divergent viewpoints and other interconnected themes, the lyrical compositions of Hagia demonstrate the potential for religious tolerance and are therefore indicative of a pluralistic and diverse ethos. In conclusion, the lyrical composition suggests that pluralistic understanding can improve inclusive views toward one's own and other religions. Hagia's recognition and admiration of various religious beliefs demonstrate that sheer relativism is insufficient; individuals must show proactive compassion for others.
The Representations of Self-Love in Justin Bieber’s Love Yourself Sarmi, Ni Nyoman; Rahmansyah, Muhammad Ilham; Ramadhani, Asjad Nina Hanan; Zahra, Shellamita; Pasopati, Rommel Utungga
Journal Corner of Education, Linguistics, and Literature Vol. 3 No. 3 (2024): February
Publisher : CV. Tripe Konsultan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54012/jcell.v3i3.252

Abstract

The song of Love Yourself by Justin Bieber talks about the importance of self-love and acceptance by encouraging any audience to prioritize their own needs and well-being, rather than seeking validation from others. Through the lyrics, Bieber emphasizes the idea that love and respect start from within oneself. Self-love should be focused by letting go of toxic relationships and negative influences and to pay more attention to each person’s own growth and happiness. By answering the question of how may self-love be represented on Justin Bieber`s Love Yourself?, the song's message is particularly relevant in today's world where social media and external pressures often dictate how people perceive themselves. Love Yourself serves as a powerful reminder that self-love and acceptance are key to mental and emotional well-being. In conclusion, Love Yourself is a powerful song that promotes self-love and acceptance including pushing out any negativity and toxic influence.
Kant’s Aesthetic Essentiality as Exposed on Selena Gomez’s Who Says Pasopati, Rommel Utungga; Firda, Erlis Hersetya; Ayu, Evangelin Rambu; Fahmi, Muhammad Abu Rijal; Salsabiyla, Raddine
Journal Corner of Education, Linguistics, and Literature Vol. 3 No. 3 (2024): February
Publisher : CV. Tripe Konsultan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54012/jcell.v3i3.253

Abstract

Beauty for women is crucial as an intersection of their desires, needs, and satisfactions. Who Says is a song by Selena Gomez released in 2011 that inspires women to be confident since beauty is actually essential. Immanuel Kant’s aesthetic essentiality underlines that beauty is not agreeable since it relies on its own essence. Then, how may Kant’s aesthetic essentiality see the position of beauty in Selena Gomez’s Who Says? Through qualitative method on cultural studies, this article exposes Kant’s perspective and Gomez’s song. Recent various beauty standards make women feel insecure, but the song encourages girls to be who they are and not let what other people say get to them. All women should ignore forceful beauty standards because any expectation could be detrimental to women’s self-esteem. In conclusion, the song shows that beauty is essential and could only be experienced by individuals, not by any beauty standard.
The Preservation of Femininity in A. K. Summers’ Pregnant Butch Ibrahim, Laila Nabilahtuzzahro; Pasopati, Rommel Utungga
Journal Corner of Education, Linguistics, and Literature Vol. 3 No. 4 (2024): May
Publisher : CV. Tripe Konsultan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54012/jcell.v3i4.277

Abstract

This study examines the depiction of femininity in the graphic novel Pregnant Butch by A. K. Summers. The novel follows the story of Teek, who is experiencing pregnancy as a butch lesbian for the first time. This article investigates Teek’s sustaining femininity throughout her pregnancy journey as a butch. A butch itself is a gender expression that holds a masculine role in lesbian relationships. The researchers took the data of this analysis is taken by reading the graphic novels thoroughly, approaching the analysis from Teek's perspective, compiling a list of dialogues and interactions, and categorizing the collected data into specific themes. Using a qualitative method, the researchers in this analysis underline the uniqueness between masculinity and femininity illustrated in the graphic novel. In conclusion, Teek's experience of femininity during pregnancy enriches her butch identity, emphasizing her ability to balance both masculine and feminine aspects of herself. The study highlights the significance of feminine elements in Teek's unwavering expression of femininity.
The Significance of Dysthymia Symptoms in Colleen Hoover’s Regretting You Smarandreetha, Falsyawal Galang; Pasopati, Rommel Utungga
Journal Corner of Education, Linguistics, and Literature Vol. 3 No. 4 (2024): May
Publisher : CV. Tripe Konsultan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54012/jcell.v3i4.278

Abstract

Colleen Hoover's novel entitled Regretting You was first published in 2019. The novel reflects the intricate layers of human relationships of self-discovery, forgiveness, and lifelong family connections. Morgan and her teenage daughter, Clara, is dealing with the tragic deaths of Morgan's husband and Clara's father. As they deal with their grief and try to rebuild their lives, secrets and misunderstandings emerge, straining their relationship and causing them to experience dysthymia. Dysthymia is a lifelong form of depression, according to Michael E. Thase and Susan S. Lang. Then, how the symptoms of dysthymia depicted by Morgan and Clara in Colleen Hoover’s Regretting You? Employing a qualitative research approach, the researchers explore the symptoms of dysthymia, including changes in feeling, thinking, and behavior. Morgan and Clara's dysthymia evolves as they navigate the conflicts in the story, mainly due to the grief resulting from their loss. As a result, their mental and emotional health suffers greatly. This leads to the conclusion that their dysthymia exacerbates the tension in their mother-daughter relationship, making it difficult for them to communicate effectively and solve problems, all due to their enduring mild depression.
The Intertwined Dialogues of Peace and Forgiveness in Uncle Tom's Cabin Pasopati, Rommel Utungga; Napitupulu, Johanes Claudio Perdana; Puspayani, Komang Sinta; Damayanti, Ni Putu Nia; Faulina, Maulidia Nur
Journal Corner of Education, Linguistics, and Literature Vol. 4 No. 1 (2024): August
Publisher : CV. Tripe Konsultan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54012/jcell.v4i1.281

Abstract

Crimes and peace are interdependent yet paradoxical to each other. The absence of crime can affect peace, accuracy and vice versa. This two-sided paradox can in fact be reconciled through forgiveness as a door to wider freedom. In Uncle Tom's Cabin novel, Tom forgives Legree, Sambo, and Quimbo who tortured him to death. Tom does not avenge violence with violence but with forgiveness. When Tom almost died, Legree did not care about his condition. In reverse, Sambo and Quimbo were impressed by Tom's heart and turned to take care of him. Tom's forgiveness shows ethical intention of others as in Levinas's thought, promise of peace and wider freedom in the sense of Ricoeur, and possibility of the heterogeneity of everyday life according to de Certeau. Tom's forgiveness at once shows everyone, no matter how small he is, can forgive others. This allows further reconciliation in a reciprocal way. Circle of violence can be cut off by forgiveness that heals others. Briefly, Tom is a reflection of peace in the form of forgiveness. Forgiveness means healing others, widening the circle of freedom of others, and as a promise of peace. Forgiveness can open itself up to reconciliation by promising freedom for a new life.
Co-Authors -Nabilahtauzzahro Ibrahin, Laila -Pujimahanani, Cahyaningsih -Putri Oktafiani, Adelia Achmad Maulana Marharendra Agil, Agischa Putri Agischa Putri Agil Agischa Putri Agil Akmal Dafa Hizbullah Albert Wijaya Kusuma Alvina Salshabilla Linjani Putri Alvina Salshabilla Linjani Putri Alvina Salshabilla Linjani Putri Alyanto, Jihan Nurul Savira Amirul Mustofa Ana Mikhaela Refaya Ananda Firda Pratama Ananda Firda Pratama Ananda Syahromi Putra Ananta, Bintang Ryan Andharu, Devito Angelina Merici Wua Reku Anggoro Cahyo Wicaksono Anggraeni Ramadhani Anggraeni Ramadhani Anicleta Yuliastuti Anicleta Yuliastuti Anicleta Yuliastuti Anicleta Yuliastuti Anicleta Yuliastuti Anicleta Yuliastuti Anindya Thalita Salsabila Annasai, Axlinabila Annisa Annisa Deby Aulia Aprilla, Evania Nur Arditha, Lisma Ayu Asihta Aulia Azzahra Asjad Nina Hanan Ramadhani Astika R. Pratiwi Attamimi, Fatimah Nurunnada Axlinabila Annisa Anasai Axlinabila Annisa Annasai Axlinabila Annisa Annasai Ayu Rengganis, Dewi Ayu, Evangelin Rambu Azzahra Nazwa Syahirah Bagus Pratama Wijayanto Bethari, Chili Podhang Bhagaskoro, Pradipto Bhagaskoro, S. Hub, Pradipto Bintang Indra Wibisono Bintang Ryan Ananta Brillyan Luhur Pakerti Budianto, Suhartawan Budianto, Suhartawan Cahyaningsih Pujimahanani Cahyaningsih Pujimahanani Cahyaningsih Pujimahanani Cahyaningsih Pujimahanani, cahyaningsih Calista, Salsabila Nova Camila, Myrilla Shafa Camilla, Myrilla Shafa Cicilia Tantri Suryawati Damayanti, Ni Putu Nia Dermawan, Zahwa Amelia Putri Devito Andharu Devito Andharu Devito Andharu Devito Andharu Dewangga, Diandra Parta Wisnu Dewi Ayu Rengganis Dewi Ayu Rengganis Dewi Syifanaya Firdausy Nurdin Dian Oktavia Dimas Eko Saputro Dimas Rakhmat Sasmita Djanarko, Indri Dwi Ainur Riza Dwi Ainur Riza Dwiky Jibril Aulia Baskara Dyah Ayu Ratna Jelita Dzil Fikris Shamad Eka Hesty Rohma Darmawati Emilia Areq Erlis Hersetya Firda Erlis Hersetya Firda Evangelin Rambu Ayu Fadhelah Aulia Hamidah, Galuh Fadillah, Muhammad Reza Ishadi Fahmi, Muhammad Abu Rijal Falsyawal Galang Smarandreetha Falsyawal Galang Smarandreetha Farham Nazhib Hamdani Farham Nazhib Hamdani Fatiha, Kayla Fatimah Nurunnada Attamimi Faulina, Maulidia Nur Fennyta Diva Fadilla Fiona Smith, Marion Firda, Erlis Hersetya Firdausy Alya Hasana Firdausy Alya Hasana Firzatullah, Muchammad Daffa Flora Anasis Fransisca Irnidianis Magdalena Suyaji Fransiska Litwin Nurni Gadi, Epifanius Karso Seda Galang Smarandreetha, Falsyawal Galuh Fadhelah Aulia Hamidah Gladys Fortuna Idealis Gunawan Tjokro Hadi Saputra Hakim, Novanda Lukwita Hamdani, Farham Nazhib Hamidah, Galuh Fadhelah Aulia Happy Julia Rahmadianti Happy Julia Rahmadianti Happy Julia Rahmadianti Hariyono Hariyono Hariyono Hariyono Hariyono Hariyono Hasana, Firdausy Alya Hidayat, Sanjaya Ahmad Hirshi Anadza Hizbullah, Akmal Dafa Ibrahim, Laila Nabilahtuzzahro Indri Djanarko Irawan, Muhammad Barra Sofyan Nur Ishadi Fadillah, M Reza Isnin Ainie Izzaditya Dharmaputra Mikail Johanes Claudio Perdana Napitupulu Kartika, Ratih Kartiningsih, Rindrah Katarina Surensa Khaled Ahmed Mohammed Khaled Ahmed Mohammed Kheista Sasi Kirana Kheista Sasi Kirana Kirana, Kheista Sasi Kurniawati, Wiwin Anggraeni Kusuma Wijaya Kusuma Wijaya Kusuma Wijaya Kusuma Wijaya Kusuma, Albert Wijaya Laila Nabilahtauzzahro Ibrahim Laila Nabilahtuzzahro Ibrahim Laila Nabilahtuzzahro Ibrahim Laura Ika Angelina Arfina Putri Lina Fadiyah Lisma Ayu Arditha Listyaningsih Listyaningsih Listyaningsih Listyaningsih Listyaningsih Listyaningsih Livia Wulandari Lucida Ataya Erly Luh Putu Ratna Sundari Luke Zefranezra Mulyanto Lutvia, Frefies Lavigni Putri M Reza Ishadi Fadillah M Reza Ishadi Fadillah Machfianita Mirza Ayu Rosyadi Margaretha, Sherlly Marharendra, Ahmad Maulana Michelle Michelle Mikail, Izzaditya Dharmaputra Moch Ivan Ramadhani Mohammad Mirza Mohammed, Khaled Ahmed Muchammad Daffa Firzatullah Muhammad Adji Mullah Akbar Muhammad Daffa Firzatullah Muhammad Ihsan Aryo Prakoso Muhammad Ilham Rahmansyah Muhammad Reza Ishadi Fadillah Muhammad Reza Ishadi Fadillah Mulyanto , Luke Zefanezra Mulyanto, Luke Zefanezra Nafis, Naufal Napitupulu, Johanes Claudio Perdana Nasywa Nuzula Ramadhani Nasywa Nuzula Ramadhani Nasywa Nuzula Ramadhani Naufal Nafis Na’ilah Farashifah Na’ilah Farashifah Ni Nyoman Sarmi Ni Nyoman Sarmi Ni Nyoman Sarmi Ni Nyoman Sarmi Ni Nyoman Sarmi, Ni Nyoman Nia Ayu Fitriani Novanda Lukwita Hakim Novanda Lukwita Hakim Noviyanti, Anisa Dinda Nurdin, Dewi Syifanaya Firadausy Nurdin, Dewi Syifanaya Firdausy Nyoman Sarmi Ohei, Sugisaka Oktafiani, Adelia Putri Oktavia, Dian Oktavia, Salsabila Adinda Pandu Bagus Sutowijoyo Pangestu, Imelza Novia Rakhmadani Pradipto Bhagaskoro Pratama, Ananda Firda Pratiwi, Astika R. Puspayani, Komang Sinta Putra, Ananda Syahromi Putri Ayu Millenia Putri, Adinda Putri, Alvina Salshabilla Linjani Putri, Laura Ika Angelina Arfina Putriana, Kadek Olivia Novi Qurrota A'yunin Qurrota A’yunin Raddine Salsabiyla Raddine Salsabiyla Raffi Achmad Zaky Rafiuddin, Rizal Rahmadianti, Happy Julia Rahmansyah, Muhammad Ilham Ramadhani, Anggraeni Ramadhani, Asjad Nina Hanan Ramadhani, Nasywa Nuzula Ramadhani, Riska Dewi Ramadhani, Sayla Nur Syahfah Raydzal Wibowo Sabandar Putra Reku, Angelina Merici Wua Rengganis, Dewi Ayu Rindrah Kartiningsih Rindrah Kartiningsih Rindrah Kartiningsih Rio Pratama Ramadan Riska Dewi Ramadhani Riska Dewi Ramadhani Riza, Dwi Ainur Rizal Rafiuddin Rizal Rafiuddin Rizal Rafsanjani Romadhona Resa Ayu Sari Rosyadi, Machfianita Mirza Ayu Salsabila Adinda Oktavia Salsabila Nova Calista Salsabila Nova Calista Salsabila, Anindya Thalita Salsabila, Shafa Salsabiyla, Raddine Santoso, Liora Samantha Valent Saputro, Dimas Eko Sasmita, Dimas Rakhmat Sayla Nur Syahfah Ramadhani Setiadi, Kostavialdus Shamad, Dzil Fikris Siadari, Yoshua Veron Handika Putra Simanjuntak, Nensy Megawati Simbolon, Sinta Uli Sinta Uli Simbolon Siti Maylanie Atina Siti Nur Jazila Siti Wulandari siti wulandari Smarandreetha, Falsyawal Galang Soenarko, Zahra Pramatatya Suyaji, Fransisca Irndianis Magdalena Suyaji, Fransisca Irnidianis Magdalena Syaif, Serly Maulina Syarifuddin Syarifuddin Syarifuddin Syarifuddin Syarifuddin Syarifuddin, S. Hub. Int., M. Si., Syarifuddin Tabi’in, Uais Alqarnie Sayyidut Tasya Aulia Kuni Masrokhati Tobing, Victor Maruli Tua L. Toto Indra Wijaya Uais Alqarnie Sayyidut Tabi’in Vio Tsaniya Dian Faza Vivi Nur Aini Susanto Wahyu Widayati Wardana, Bima Tri Wardhana, Bima Tri Wicaksono, Anggoro Cahyo Wijaya, Kusuma Wijaya, Silvia Marta Wijayanto, Bagus Pratama Wirnoto, Yasmine Azzah Adillah Wiwin Anggraeni Kurniawati Yasmine Azzah Adillah Wirnoto Yasmine Azzah Adillah Wirnoto Yoshua Veron Handika Putra Siadari Yoshua Veron Handika Putra Siadari Yoshua Veron Handika Putra Siadari Yovita Olivia Yuliastuti, Anicleta Zahra Pramatatya Soenarko Zahra, Shellamita Zahwa Amelia Putri Dermawan Zaimudin, Ashlaha Baladina Zaky, Raffi Ahmad Zhafirah, Muthiah Qalbu