cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Truly Almendo Pasaribu
Contact Email
trulyalmendo@usd.ac.id
Phone
+6281903751177
Journal Mail Official
-
Editorial Address
Jl. Moses Gathotkaca, Catur Tunggal, Depok, Caturtunggal, Kec. Depok, Kabupaten Sleman
Location
Kab. sleman,
Daerah istimewa yogyakarta
INDONESIA
International Journal of Humanity Studies (IJHS)
Published by Universitas Sanata Dharma
ISSN : 2597470X     EISSN : 25974718     DOI : -
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Languange, Linguistic, Communication & Media Social Sciences
International Journal of Humanity Studies (IJHS), a double blind peer-reviewed journal, publishes scientific full papers written in English. IJHS is a biannual, published twice a year, namely in September and March.
Arjuna Subject : Ilmu Sosial - Kajian Budaya
Articles 278 Documents
 24   25   26   27   28 
LANGUAGE IN ACTION: INTERPRETING ILLOCUTIONARY SPEECH ACTS IN TICK, TICK…BOOM! Sutrisno, Bejo; Rahim, Dinda Cheril Julian
International Journal of Humanity Studies (IJHS) Vol 9, No 1 (2025): September 2025
Publisher : Sanata Dharma University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24071/ijhs.v9i1.10167

Abstract

Although illocutionary speech acts have been extensively studied in everyday and institutional discourse, their application in cinematic narratives remains underexplored. Existing pragmatic research on film dialogue has primarily focused on genre conventions or general speech act patterns, leaving a gap in understanding how illocutionary force constructs character identity and emotional conflict in creative storytelling. This study investigates the illocutionary acts employed by Jonathan Larson, the protagonist in Tick, Tick… Boom!, a Netflix original musical that dramatizes the tension between personal ambition and existential anxiety. Drawing on Searle’s taxonomy, the research adopts a qualitative approach to analyze 76 representative utterances from the film script and scenes, identifying and categorizing illocutionary force. The results reveal four types of illocutionary acts: directives (42.5%), assertives (26.7%), expressives (22.3%), and commissives (6.6%), with directives as the most dominant. These findings suggest that Larson’s linguistic behavior is driven largely by attempts to influence, persuade, and seek validation from others. By situating speech act theory within cinematic pragmatics, this study contributes to a growing body of interdisciplinary research and offers insights for scholars examining language use in media narratives. Future research may consider integrating locutionary and perlocutionary dimensions for a fuller account. 
RUIN AS RESURRECTION: AN INTERSECTIONAL FEMINIST READING OF THE FALLEN WOMAN IN VICTORIAN LITERATURE Javier, Wenona Bea
International Journal of Humanity Studies (IJHS) Vol 9, No 1 (2025): September 2025
Publisher : Sanata Dharma University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24071/ijhs.v9i1.12913

Abstract

In so-called civilized societies, women who defy traditional norms or engage in “immoral” behavior are harshly judged and excluded. This dynamic is evident in Thomas Hardy’s The Ruined Maid, Augusta Webster’s A Castaway, and Émile Zola’s Nana, where female characters are portrayed as morally transgressive and socially irredeemable, reinforcing rigid binaries between virtue and vice. Applying Kimberlé Crenshaw’s theory of intersectionality (1989), this paper explores how class, gender, societal expectations, and sexual politics converge to shape these women’s identities and societal reception. Findings reveal that the “fallen” women in the Victorian literary works resist confinement through economic agency, self-awareness, and even spectacle. Rather than passive victims, they emerge as complex figures whose lives defy singular interpretation. This study critiques the moralistic frameworks of Victorian literature while foregrounding intersectionality as a critical method for dismantling dominant narratives that persist in shaping modern gender norms. Ultimately, it calls for more liberating readings of women’s transgressions across time.
FEMINIST VISUAL-LINGUISTIC ANALYSIS OF AKO AY MAY KIKI Valenzuela, Christian Loid; Dinoy, Danilo
International Journal of Humanity Studies (IJHS) Vol 9, No 1 (2025): September 2025
Publisher : Sanata Dharma University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24071/ijhs.v9i1.12235

Abstract

This study employs feminist literary theory and a visual-linguistic analysis to examine the portrayal of femininity in the children’s illustrated storybook Ako ay May Kiki by Glenda C. Oris. It analyzes how linguistic choices, based on Abram’s (1999) typology of diction, and the use of color, guided by the principles of color psychology, contribute to the construction of female representation. Findings reveal that the storybook challenges stereotypes of women as passive through active verbs that depict the female protagonist as strong and assertive. The explicit use of anatomical terms such as “vagina” normalizes discussions of the female body by presenting it as natural and empowered. The minimal use of adjectives and reliance on concrete, everyday language frame femininity in practical terms. Visually, the deployment of warm, positive colors conveys body acceptance and empowerment, while neutral tones reflect inclusivity and authenticity. Furthermore, the use of green and blue—commonly associated with masculinity—subverts conventional gender coding and broadens the representation of femininity. By highlighting inclusive language and visual strategies, the study underscores how the text and illustrations facilitate body consciousness, gender sensitivity, and positive self-esteem among children.
WOMEN REPRESENTATIONS AND TECHNOCULTURAL PATRIARCHY IN CAM, CAUGHT IN THE WEB, AND FIFTEEN MILLION MERITS Ledesma, Jan Raen Carlo Mijaro; Manalastas, Aldrin Enciso
International Journal of Humanity Studies (IJHS) Vol 9, No 1 (2025): September 2025
Publisher : Sanata Dharma University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24071/ijhs.v9i1.13192

Abstract

This paper examined women protagonists from three media samples: Cam (2018), Caught in the Web: The Murders Behind Zona Divas (2024), and Black Mirror’s Fifteen Million Merits (2011). It analyzed women as the subjects of visual pleasure and extended the discourse on gender and technology, shedding light on how technology is grounded in the project of patriarchy. Capitalizing on the critical research design and on the feminist film theory of Laura Mulvey, and feminist and technology theories of Judy Wajcman, Joan Pujol and Maria Montenegro, the analysis demonstrated how the samples partook in the dynamic correlations of visual pleasure, feminism and technology with them exploring the political specificities of sexual hierarchies and their emplacements in a technological capitalistic world, the patriarchal shaping of technology espousing the exclusion and reification of women, the compartmentalization of their bodies and autonomies by technology leading to their pessimistic and subjugated portrayals unveiling the image of men as the forerunners of technological control. The feminist issues that they faced opened the subject of technology as a gendered culture and entity seriously shaped by phallocentric ideologies, conveying how the ideologies of maleness and androcentrism can steer its complexities.
DIGITAL DEATHSCAPES: A TRANSDISCIPLINARY STUDY ON DEATH AND MOURNING, WORLDVIEWS, AND IDENTITIES ON FACEBOOK Santos, Rafael Ibe
International Journal of Humanity Studies (IJHS) Vol 9, No 1 (2025): September 2025
Publisher : Sanata Dharma University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24071/ijhs.v9i1.12584

Abstract

In this cyberethnography and computer-mediated discourse analysis, I explored the common digital deathscapes on Facebook and how they (re)configure death and mourning in the absence of rituals in physical spaces. I also investigated social realities, worldviews, and identities constructed by the virtual semiotic resources. Results of the transdisciplinary investigation illustrate that digital mourners resort to seven repertoires of semiotic digital deathscapes, with candles and text being the most prevalent. Avoidance of death discourse emerged as a common social reality, and belief in God and the afterlife constitute the grievers’ worldviews. In terms of computer-mediated communication, two interesting impressions were uncovered. First, Facebook appears to be a platform for women, as seen in their predilection for social media engagement and virtual mourning. Conversely, men are less engaged in virtual mourning. The results highlight gender-based differences in digital grief expressions. Additionally, they underscore the prominent role of women in emotionally charged social and family events such as death and memorialization. Findings have theoretical implications on semiotics and critical discourse analysis in the context of digital mourning while also offering rare Facebook data on the subject. 
MASCULINITIES AND ETHNIC CONFLICTS: THE NIGERIAN MILITARY EXPERIENCE, 1966–1970 Jimoh, Dauda Ishola; Yusuff, Rilwan Olabisi; Yusuf, Muhammad-Bashir Owolabi
International Journal of Humanity Studies (IJHS) Vol 9, No 1 (2025): September 2025
Publisher : Sanata Dharma University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24071/ijhs.v9i1.11339

Abstract

This paper examines the masculinities and ethnic tensions within the Nigerian military between 1966 and 1970. The study explores how different ideas of masculinity shaped the way the military operated and how it handled ethnic conflicts. The study sheds light on how various masculinities influenced the emergence of the first military junta, power struggles, and masculine roles during the first military incursion into Nigerian politics and the Nigerian Civil War. The paper relies on primary and secondary sources and adopts both chronological and thematic analyses. This paper contributes to a larger discussion on the intersectionality of masculinity and ethnicity in a military context by recognizing that both ideas contributed to recurring coups and political instability in Nigeria.
SOVIET MASCULINITY CRITICS IN FIŠKIN'S CHARACTER IN МОЙ ПАПА БАРЫШНИКОВ (MOJ PAPA BARYŠNIKOV) MOVIE Prasetya, Aprilia; Kaprisma, Hendra
International Journal of Humanity Studies (IJHS) Vol 9, No 1 (2025): September 2025
Publisher : Sanata Dharma University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24071/ijhs.v9i1.10737

Abstract

This research discusses critiques of Soviet masculinity through Fiškin's character in Moj Papa Baryšnikov movie by Dmitrij Povolockij. This research aims to identify how Fiškin's character embodies a critique of Soviet masculinity. The author used representation theory from Stuart Hall (1997) and the content analysis method from Krippendorff (2019). In the analysis, the author displayed dialogue and screenshots of Chafetz's (1978) concept of masculinity, contextualized within Soviet reality. This research reveals that Fiškin's character does not represent the seven key characteristics of masculinity, including physical appearance, functional, sexual, emotional, intellectual, interpersonal, and personal. As a result, he serves as the antithesis of the ideal Soviet male. The filmmakers, benefiting from the post-Soviet era, form Fiškin’s character as a direct challenge to traditional Soviet masculinity, positioning this film as critical commentary on the era’s gender norms.  
UNEARTHING ACCOUNTABILITY AND ALLIGNMENT OF SUSTAINABILITY REPORT TO SUSTAINABLE DEVELOPMENT GOALS Sulistiyowati, Firma; Dewi, Novita; Isti'anah, Arina
International Journal of Humanity Studies (IJHS) Vol 9, No 1 (2025): September 2025
Publisher : Sanata Dharma University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24071/ijhs.v9i1.13323

Abstract

Sustainability reports provide a corporate performance’s comprehensive view from economic, social, and environmental perspectives to help stakeholders identify progress and areas for improvement as well as increasing public awareness. However, given the rising issue of “greenwashing,” false environmental claims often shown in company reports, it is important to examine the authenticity of a sustainable report, especially in its alignment with the Sustainable Development Goals (SDGs), to see whether the report actually reflects ecological responsibility or simply to improve stakeholder trust and company image. This study aims to examine the sustainability report of a fishery industry in Indonesia. Using a mix-method, i.e., combination of AI tools for initial summary of the report and qualitative Ecological Discourse Analysis (EDA), especially the framing and erasure theories of Stibbe (2015), the research seeks to identify the report’s alignments with indicators concerning responsible consumption (SDG 12), climate action (SDG 13), and ocean ecosystems (SDG 14). The finding shows that there are inconsistencies between the company’s ecological principles and its sustainability claims as revealed from its framing and erasure narrativization. The report’s focus on creating a corporate self-image as a consumer and market-driven company results in a lack of visible ecological accountability.

Page 28 of 28 | Total Record : 278

 24   25   26   27   28 

Filter by Year

2017 2025


Reset
Filter By Issues
All Issue Vol 9, No 1 (2025): September 2025 Vol 8, No 2 (2025): March 2025 Vol 8, No 1 (2024): September 2024 Vol 7, No 2 (2024): March 2024 Vol 7, No 1 (2023): September 2023 Vol 6, No 2 (2023): March 2023 Vol 6, No 1 (2022): September 2022 Vol 5, No 2 (2022): March 2022 Vol 5, No 1 (2021): September 2021 Vol 4, No 2 (2021): March 2021 Vol 4, No 1 (2020): September 2020 Vol 3, No 2 (2020): March 2020 Vol 3, No 1 (2019): September 2019 Vol 2, No 2 (2019): March 2019 Vol 2, No 1 (2018): September 2018 Vol 1, No 2 (2018): March 2018 Vol 1, No 1 (2017): September 2017 More Issue