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All Journal Journal Corner of Education, Linguistics, and Literature Gudang Jurnal Multidisiplin Ilmu
Firda, Erlis Hersetya
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The Existential Hope for Love in Sheerwood Anderson's The Dumb Man Mohammed, Khaled Ahmed; Setiadi, Kostavialdus; Pasopati, Rommel Utungga; Firda, Erlis Hersetya; Ramadhani, Riska Dewi; Margaretha, Sherlly
Gudang Jurnal Multidisiplin Ilmu Vol. 2 No. 10 (2024): GJMI - OKTOBER
Publisher : PT. Gudang Pustaka Cendekia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59435/gjmi.v2i10.923

Abstract

The research takes an insight look into the complicated representation of love, using the short story of The Dumb Man by Sherwood Anderson within the existentialism framework. The deaf and mute protagonist becomes a metaphor for the universal human condition in his search for love and communication amidst a society that cares less. In his tacit quest for love, Anderson exemplifies an existentialist perspective: Love is not a desire—one feels—but a highly conscious effort to assert one's existence in reality, both freely chosen and constrained by society. This analysis is conducted through qualitative method and explorative approach in unpacking meaning from the narrative, with the contention that hopes for love functions as a central vehicle for self-transformation. It is in this quest for love that this story wrestles through the tension of aloneness with man's need to connect, representative of the complex, intertwined relationship between individual independence and the world outside. Ultimately, through this story, how it unfolds existentialism culminates into the relentless, sometimes painful pursuit of love—thereby bringing out the core role of existentialism in the journey towards self-actualization and insight into the human condition.
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.
Co-Authors Ayu, Evangelin Rambu Fahmi, Muhammad Abu Rijal Margaretha, Sherlly Mohammed, Khaled Ahmed Pasopati, Rommel Utungga Ramadhani, Riska Dewi Salsabiyla, Raddine Setiadi, Kostavialdus