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All Journal JOURNAL OF EDUCATION SCIENCE EL- Hayah
Syarifah Syarifah
Stain Mandaling Natal
Religion Education

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الصراع الداخلي على الشخصية الرئيسية في القصة القصيرة الملاك الأعرج لمنى مرشود syarifah syarifah
EL- Hayah Vol. 14 No. 2 (2024): Desember 2024
Publisher : Pascasarjana UIN Raden Mas Said Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22515/elha.v14i2.11732

Abstract

This research examines the psychological aspects in the short story "The Lame Angel". This research is a qualitative descriptive study using Kurt Lewin's literary psychology approach. The data collection techniques used in this research were library techniques, reading and note-taking. In this research, he began to use Kurt Lewin's theory to identify interactions that occurred between the main character and other characters which led to conflict. The results of this research show that the author mentions internal conflict in the short story "The Lame Angel" by Mona Marchoud. By using Kurt Lewin's psychological studies, two things can be concluded. First, getting closer indicates a form of internal conflict, happiness, and anxiety. Approach-distancing conflict takes the form of disappointment, fear and anger, while Approach-distancing conflict takes the form of disappointment, annoyance and anxiety. Second: The response to resolving internal conflict in the short story is divided into three parts, namely 1) anxiety, 2) bargaining, 3) choice/rejection. These three actions carried out by the main character occur until the main character understands himself and is able to accept the current situation.
EMPOWERED VOICES: A FEMINIST DISCOURSE ANALYSIS OF SELF-LOVE AND CONFIDENCE IN SELENA GOMEZ’S “WHO SAYS” Syarifah Syarifah
JOURNAL OF EDUCATION SCIENCE Vol 11, No 2 (2025): OKTOBER 2025
Publisher : Universitas Ubudiyah Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33143/jes.v11i2.5427

Abstract

Popular music often serves as a subtle site where emotion and ideology intertwine. In Selena Gomez’s “Who Says,” lyrical vulnerability transforms into resilience, crafting a discourse where the female voice reclaims its worth. Within this context, the song operates as a medium of feminist self-articulation that negotiates the boundaries between self-doubt and empowerment. This study aims to examine how Gomez’s lyrics construct self-love and confidence as feminist agency through discursive strategies. Guided by Feminist Critical Discourse Analysis (Lazar, 2020, 2023), supported by hooks’ (2000) notion of self-love as political resistance, and informed by Butler’s (2022) view of performative subjectivity and Gill’s (2021, 2023) theorization of confidence culture and postfeminist affect, the study employs a qualitative textual approach. The analysis identifies three discursive patterns: repetition as resistance, pronoun shifts as collective identity, and rhetorical questioning as empowerment. Findings reveal that repetition reclaims the voice of self-worth, pronoun shifts dissolve the line between the individual and collective self, and rhetorical questions destabilize patriarchal authority. These patterns turn pop lyricism into an act of feminist redefinition. Ultimately, “Who Says” emerges as a lyrical manifesto of self-love—transforming the language of insecurity into affirmation and redefining agency as the right to exist beautifully and unapologetically. Keywords: agency, discourse, empowerment, feminism, music, self-love
EMPOWERED VOICES: A FEMINIST DISCOURSE ANALYSIS OF SELF-LOVE AND CONFIDENCE IN SELENA GOMEZ’S “WHO SAYS” Syarifah Syarifah
JOURNAL OF EDUCATION SCIENCE Vol. 11 No. 2 (2025): OKTOBER 2025
Publisher : Universitas Ubudiyah Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33143/jes.v11i2.5427

Abstract

Popular music often serves as a subtle site where emotion and ideology intertwine. In Selena Gomez’s “Who Says,” lyrical vulnerability transforms into resilience, crafting a discourse where the female voice reclaims its worth. Within this context, the song operates as a medium of feminist self-articulation that negotiates the boundaries between self-doubt and empowerment. This study aims to examine how Gomez’s lyrics construct self-love and confidence as feminist agency through discursive strategies. Guided by Feminist Critical Discourse Analysis (Lazar, 2020, 2023), supported by hooks’ (2000) notion of self-love as political resistance, and informed by Butler’s (2022) view of performative subjectivity and Gill’s (2021, 2023) theorization of confidence culture and postfeminist affect, the study employs a qualitative textual approach. The analysis identifies three discursive patterns: repetition as resistance, pronoun shifts as collective identity, and rhetorical questioning as empowerment. Findings reveal that repetition reclaims the voice of self-worth, pronoun shifts dissolve the line between the individual and collective self, and rhetorical questions destabilize patriarchal authority. These patterns turn pop lyricism into an act of feminist redefinition. Ultimately, “Who Says” emerges as a lyrical manifesto of self-love—transforming the language of insecurity into affirmation and redefining agency as the right to exist beautifully and unapologetically. Keywords: agency, discourse, empowerment, feminism, music, self-love
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