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All Journal Rubikon: Journal of Transnational American Studies k@ta Lingua Susastra Retorik: Jurnal Ilmu Humaniora
Ardana, Stefanus Galang
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Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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Can Chaos Explain Tragic Fate? Othello and Oedipus Rex Revisited Ardana, Stefanus Galang
Lingua Susastra Vol 6, No 1 (2025)
Publisher : Departemen Bahasa dan Sastra Indonesia dan Daerah

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ls.v6i1.413

Abstract

This paper employs chaos theory to analyze Shakespeare's Othello and Sophocles' Oedipus Rex, contrasting traditional interpretations of tragedy with the insights offered by chaos theory. Challenging analyses based on tragic flaws, this study reveals how minor initial deviations—Iago's manipulations in Othello and the priestly vagueness in Oedipus Rex—generate cascading feedback loops leading to catastrophic outcomes. Utilizing Prigogine's theory of bifurcation and Paulson's information theory, the paper traces how ambivalent or incomplete information triggers these trajectories, identifying pivotal bifurcation points like the handkerchief in Othello and the Shepherd's revelation in Oedipus Rex. While Othello's conclusion shows systemic collapse, Oedipus Rex demonstrates a form of reorganization. This approach uniquely contributes to literary studies by challenging linear causality and illustrating how meaning emerges unpredictably from instability within structurally chaotic tragic systems, particularly offering a rigorous examination of Oedipus Rex through the lens of chaos theory, a novel approach in existing scholarship. The study demonstrates that tragedy in these plays is not merely about disorder but a system governed by it, where causality is nonlinear and indeterminate.
Apokalips Milik Siapa? Unfuturability dan Politik Futuritas Kolonial-Pemukim dalam Narasi Apokaliptik Barat Ardana, Stefanus Galang
Retorik: Jurnal Ilmu Humaniora Vol 13, No 2 (2025): Cultural Studies After the End of the World
Publisher : Sanata Dharma University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24071/ret.v13i2.12831

Abstract

This paper argues that reading Western settler-colonial apocalyptic narratives—including films, video games, and novels such as The Road, the Fallout series, Children of Men, and Interstellar—through the lens of unfuturability reveals their underlying political function. I distinguish between “apocalypse-as-genre,” the spectacular collapse imagined in these works, and “apocalypse-as-structure,” the slow violence already endured in places such as Sumatra, Kalimantan, and Papua. The analysis identifies three recurring settler-colonial tropes that work to secure the future as a racially exclusive domain: the reimagining of land as an emptied frontier, the rebirth of the hunter-hero through righteous violence, and the salvation of the future through a settler adoption fantasy. These tropes function as a form of “white property” by controlling who inherits futurity. In response, unfuturability is proposed as both an analytic and an ethic: a political refusal of the colonial future that opens space for plural, relational worlds already being built through Indigenous land stewardship, Black mutual aid, and decolonial archival practice. By using unfuturability to name and critique these narrative patterns, this paper offers a framework for reading apocalyptic culture beyond the horizons secured by settler futurity.
Hybrid Identities and Power Dynamics in Postcolonial Umuofia: A Close Reading of The Voter Stefanus Galang Ardana
k@ta: A Biannual Publication on the Study of Languange and Literature Vol. 27 No. 2 (2025): DECEMBER 2025
Publisher : The English Department, Faculty of Humanities & Creative Industries, Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/kata.27.2.107-120

Abstract

Chinua Achebe’s short story The Voter examines the idea of compromised agency in postcolonial Nigeria through the character of Rufus Okeke (Roof). Through the lens of Homi Bhabha’s ideas of mimicry and hybridity, this paper reads Roof’s dilemma while also revealing the limitations of Bhabha. Bhabha’s concept of hybrid and the third space are sites of possible negotiation and resistance. Meanwhile Roof’s engagement with a corrupt political system illustrates a cruel world of psychological tension, economic need, and moral compromise. His choices may not be acts of liberation themselves; rather, they are strategies for survival within a structure that continues to reflect colonial relations of power. This study juxtaposes Bhabha’s theory with Frantz Fanon’s and Achille Mbembe’s materialist critiques. This demonstrates how Achebe advocates for a postcolonial reading that takes the lived realities of complicity and survival more seriously. Moreover, the paper argues for a more grounded view of how identity is negotiated under the shadow of colonial rule.
THE TRANSNATIONAL AFFECT ECONOMY: EMOTIONAL CAPITALISM AND THE COMMODIFICATION OF AFFECT IN TAYLOR SWIFT AND INDONESIAN POPULAR MUSIC Ardana, Stefanus Galang; Christiana, Merry
Rubikon : Journal of Transnational American Studies Vol 13, No 1 (2026)
Publisher : Pengkajian Amerika, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/rubikon.v13i1.108867

Abstract

This article examines the transnational flow of emotional capitalism, beginning with Taylor Swift’s industrialization of authentic pain in “All Too Well (10 Minute Version)”. The central problem is understanding how this global model of curated vulnerability is received and reshaped within the Indonesian cultural landscape. This study introduces the “Transnational Affect Economy” as a new analytical framework, synthesizing theories of the Culture Industry, brand culture, and structures of feeling to analyze this process. The analysis of Swift's work reveals a Cinema of Suffering—a deliberate aesthetic strategy that transforms personal heartbreak into a globally marketable emotional product through visual aestheticization and narrative commodification. The findings further demonstrate that this industrial-affective model is not merely replicated but localized by Indonesian musicians Hindia and Nadin Amizah to address the specific structure of feeling known as galau: Hindia packages this sentiment into collective catharsis for urban youth, while Nadin Amizah constructs an introspective, aestheticized refuge—together constituting a "Galau Industrial Complex" that transforms socio-economic precarity into cultural capital. The article's primary significance lies in providing a rigorous framework to analyze how personal emotion is produced, commodified, and made meaningful across diverse cultural contexts in the digital age.
Co-Authors Merry Christiana