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All Journal SULUK: Jurnal Bahasa, Sastra, dan Budaya Seshiski: Southeast Journal of Language and Literary Studies
Rane, Zakridatul Agusmaniar
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Arts Humanities Languange, Linguistic, Communication & Media

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RECONCEPTUALIZING WOMAN BEAUTY IN DRAMA SERIES MY ID IS GANGNAM BEAUTY Rane, Zakridatul Agusmaniar
Seshiski: Southeast Journal of Language and Literary Studies Vol 2 No 2 (2022): Volume 2, Issue 2, December 2022
Publisher : Himpunan Sarjana Kesusastraan Indonesia, Komisariat Sulawesi Tenggara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53922/seshiski.v2i2.24

Abstract

Women and beauty are a unity. Beauty as the characteristic of femininity has taken root in a wider social system. It is culturally programmed. The modern beauty myth which is centered on women's bodies is reproduced continuously. The most dominant way of reproduction is through the media. The beauty myth is represented through advertisements, idol appearances, films, and TV series. Beauty myths are felt torturing women, so lately the movement to free women from the shackles of beauty myths is increasingly being voiced. This effort is carried out in various ways for example through writing, criticism, and popular culture. One of them is a drama series My ID is Gangnam Beauty. It is a Korean drama but watched by people around the world, dubbed in many language versions, including English. It carries out a universal issue: the beauty myth. It deconstructs the definition of woman beauty. This paper analyzes what and how beauty is defined in this series. The descriptive qualitative method is used in the analysis process. The result shows that in this series, beauty is still put as women's identity and allure, but beauty is defined as kindness and good behavior. The female main character has an ugly face so she does plastic surgery. People then call her a plastic monster, but she is loved by the most popular boy on her campus. Through this story, the audience is told that true beauty is not good-looking, but it is about attitude and behavior.
MASKULINITAS YANG FEMININ PADA SOSOK AYAH DALAM LIRIK LAGU VIRGOUN “Saat Kau Telah Mengerti” Rane, Zakridatul Agusmaniar
Seshiski: Southeast Journal of Language and Literary Studies Vol 3 No 1 (2023): Volume 3 Issue 1 June 2023
Publisher : Himpunan Sarjana Kesusastraan Indonesia, Komisariat Sulawesi Tenggara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53922/seshiski.v3i1.41

Abstract

This study analyzed the characteristics of father masculinity as represented in the lyrics of Virgoun’s song "Saat Kau Telah Mengerti". The lyric describes father as a strict, firm and leading figure. But the expression of his feeling to his child describes his feminine side. A father seems to have a unique masculinity. The data was obtained by transcribing Virgoun’s song "Saat Kau Telah Mengerti" and then analyzed it using Van Dijk's critical discourse analysis. The results of the study found that father’s masculinity is different from what is required by hegemonic masculinity of patriarchal society. Hegemonic masculinity defines a man as the one who is free from feminine traits. In this lyric, father is a man with dual roles as husband and parent. It gives him a feminine masculinity. As the head of the family, he constructs a tough, assertive, and domineering attitude. While the fact that he is a parent instills a sense of affection, love, and the desire of caring children. masculine and feminine traits negotiated within him. His strict attitude is not merely the manifestation of masculine traits required by gender discourse, but an attitude driven by love for his child. Femininity infiltrates his masculinity and coexist within him.
Reading Surabaya at Close Range: Port Underworlds and Revolutionary Memory in Eko Darmoko’s Fiction Rane, Zakridatul Agusmaniar; Aji, Rojil Nugroho Bayu
SULUK : Jurnal Bahasa, Sastra, dan Budaya Vol. 8 No. 1 (2026): Maret
Publisher : Program Studi Sastra Indonesia UIN Sunan Ampel Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15642/suluk.2026.8.1.21-33

Abstract

This article reads Surabaya at close range through two Eko Darmoko’s short stories, examining how anomalous details and named urban sites disclose port commerce, revolutionary memory, and continuities and breaks between early maritime violence and the conflicts around 1945. Rather than treating Surabaya as a fixed historical background, this article approaches the city as a literary construction shaped by objects, places, affect, and narrative irregularities. This study is primarily a literary analysis that combines close reading with selective contextual triangulation. The analysis focuses on textual details in two short stories, including narrative anomalies, micro-topographies, focalization, material objects, and affective registers. Secondary materials (paratexts, port toponymy, cartographic references, scholarly articles, theses, and relevant historical documents) are used to clarify urban, historical, and cultural contexts of Surabaya. Each textual clue is read in relation to external traces and tested across scene, community, and city levels, without treating fiction as a substitute for historical documentation. Nusantara Abad 16 foregrounds port underworlds, counterfeit authority, coercive exchange, and gendered vulnerability. Cinta Absurd di Sekitar Yamato dan Kematian Mallaby organizes revolutionary memory through crowds, rumor, mobile perception, and volatile objects. Across both texts, coercive infrastructures persist, while commodity logics and authority forms shift. Quays, alleys, hotel thresholds, and bridges mediate agency. This article offers a literary microhistorical reading that keeps historical claims proportional to textual evidence. It contributes to Indonesian literary criticism, Surabaya studies, and debates on fiction, space, and urban historical imagination.
Co-Authors AJI, ROJIL NUGROHO BAYU