Lililacs Journal
Lililacs Journal: English Literature, Language and Cultural Studies (LILILACS) is a biannual (January and July) journal published by English Literature Study Programme, Universitas Negeri Jakarta. LILILACS accepts original manuscripts in the discipline of English Literature, Linguistics, Translation and Cultural Studies including research papers, critical literature reviews and academic essays. LILILACS invites article submissions for researchers, lecturers, students, and community partners through peer-reviewed process.
Articles
47 Documents
<![CDATA[The levels of psyche and the archetype elements of Amy Loughren in The Good Nurse movie ]]>
<![CDATA[Octavia Sylviana Dewi]]>;
<![CDATA[Dyah Ambar Wuryandari]]>
<![CDATA[ Lililacs Journal Vol. 4 No. 1 (2024): Lililacs Journal ]]>
Publisher : <![CDATA[Lembaga Penelitian dan Pengabdian kepada Masyarakat, Universitas Negeri Jakarta ]]>
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DOI: 10.21009/lililacs.041.05
<![CDATA[Archetype was an originates concept from psychology by Swiss psychiatrist Carl Gustav Jung. The researcher analyzed the levels of the psyche and the archetype elements based on Carl Jung’s theory in Amy Loughren as the main character of The Good Nurse movie. The objective of the research is to find out the levels of the psyche and the Archetype elements that appear in Amy Loughren in The Good Nurse movie based on Carl Gustav Jung’s theory. The researcher used qualitative descriptive method. The data were collected from dialogues in the movie. The researcher found the levels of the psyche are represented in Amy’s character with 3 data of Conscious (Ego). The researcher also found 7 Archetypes Elements that appeared, they were Persona (5 data), Shadow (2 data), Animus (1 datum), Great Mother (4 data), Wise Old Man (2 data), Hero (2 data) and Self (1 datum).]]>
<![CDATA[A formalist analysis in how Lewis Carroll portrays Alice character in "Alice's Adventures in Wonderland" ]]>
<![CDATA[Asgar Widhasworo Rochmansyah Putra]]>;
<![CDATA[Alifian Kusuma Bahtiar]]>;
<![CDATA[Wahyu Indah Mala Rohmana]]>
<![CDATA[ Lililacs Journal Vol. 4 No. 1 (2024): Lililacs Journal ]]>
Publisher : <![CDATA[Lembaga Penelitian dan Pengabdian kepada Masyarakat, Universitas Negeri Jakarta ]]>
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DOI: 10.21009/lililacs.041.02
<![CDATA[The article presents a formalist analysis of Alice's characterization in the novel "Alice's Adventures in Wonderland" from the point of view of the author of the fictional work Lewis Caroll. This research article explores how Alice's actions, dialogues, and interactions contribute to her characterization, emphasizing the traits of curiosity, open-mindedness, empathy, and assertiveness. It also investigates the role of each episode in shaping Alice's journey and highlights the importance of dreams, growth, and her encounter with the Caterpillar. The article concludes by emphasizing the formalist perspective and references various dissertations, conference proceedings, and books related to the analysis of Alice's character in the novel.]]>
<![CDATA[Exploring masculinities in Barbie (2023) directed by Greta Gerwig ]]>
<![CDATA[Pramaisela Lubis, Adilla]]>
<![CDATA[ Lililacs Journal Vol. 4 No. 1 (2024): Lililacs Journal ]]>
Publisher : <![CDATA[Lembaga Penelitian dan Pengabdian kepada Masyarakat, Universitas Negeri Jakarta ]]>
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DOI: 10.21009/lililacs.041.04
<![CDATA["Barbie" (2023), directed by Greta Gerwig and co-written with Noah Baumbach, offers a satirical exploration of masculinity in the Barbie universe. This research paper employs Raewyn Connell's "Types of Masculinity" framework to analyze the male characters, particularly Ken, and their representation of different forms of masculinity within the fantastical world of Barbieland. Critical Discourse Analysis (CDA) is used to uncover hidden beliefs and social commentary about masculinity expressed through language. The film presents a multifaceted exploration of masculinity, including hegemonic, complicit, subordinate, and marginalized types, challenging and reinforcing conventional gender expectations and contributing to a broader discourse on gender representation in contemporary cinema.]]>
<![CDATA[The Lord of the Flies: Deconstructing the ideas of human civility ]]>
<![CDATA[Savadi, Raveena]]>
<![CDATA[ Lililacs Journal Vol. 4 No. 1 (2024): Lililacs Journal ]]>
Publisher : <![CDATA[Lembaga Penelitian dan Pengabdian kepada Masyarakat, Universitas Negeri Jakarta ]]>
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DOI: 10.21009/lililacs.041.03
<![CDATA[‘The Lord of the Flies’ penned by Henry Golding challenges the notions and ideas we as human beings perceive ourselves to be, civilised, good-natured and kind, as compared to who we are in actuality. Golding, inspired by his own experience, crafts this brilliant narrative that wills its viewers to realise the sheer savagery human beings possess behind a veil of civility. It follows the popular narrative of characters having lost their way and finding themselves stranded on a deserted island. However, instead of exciting adventures with promises of mirth and triumph over the brutal forces of nature, Golding unravels his story to reveal the darkness and bloodlust in human nature that instantly begins to project on the loss of social order. He conveys his perceptions of the need for governance over humans because they are inherently violent. This research paper analyses the relationship between the characters to concepts of civility and savagery and explores the story’s subversion of the colonial narrative present in various other novels of the same trope. It also hopes to convey the criticism of the novel and its messaging and explain the significance and timeless nature of the novel that remains relevant to date.]]>
<![CDATA[On the “mise-en-scène” of Pinoocchio 1940 and 2022 films' versions ]]>
<![CDATA[Cha, Mi Song]]>;
<![CDATA[Ruslianti, Atikah]]>;
<![CDATA[Kusuma, Dwi Linda]]>
<![CDATA[ Lililacs Journal Vol. 4 No. 1 (2024): Lililacs Journal ]]>
Publisher : <![CDATA[Lembaga Penelitian dan Pengabdian kepada Masyarakat, Universitas Negeri Jakarta ]]>
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DOI: 10.21009/lililacs.041.01
<![CDATA[This study examines the film Pinocchio (2022) by Robert Zemeckis in comparison to the 1940 version of old animation on the basis of mise-en-scène. The analysis was done using the descriptive analysis method with the film approach and the films are analyzed on both the narrative and cinematographic aspect. The result showed that two films show a lot of similarities since they were both made on the same story. The analysis of the narrative aspect showed that they have different opening and conclusion in plot, have extra more characters in the new film, as well as show different social setting of the film. The cinematic examination proved that the new film put more details on the props of cuckoo clocks made by Geppetto and the lighting analysis showed that the 1940 version used constant high-key lighting while the new version used both low-key and high-key lighting. The 2022 version also used various camera angles and movements, while the 1940 version used constant standard camera angles throughout the film. The overall analysis showed that while the old version is made simply for young audiences, the new film targets audiences of not only young children, but also young adults.]]>
<![CDATA[Machine translations for translating metaphor ]]>
<![CDATA[Artanti, Farahita Mufidah]]>;
<![CDATA[Rahayu Purbasari]]>
<![CDATA[ Lililacs Journal Vol. 4 No. 2 (2024): Lililacs Journal ]]>
Publisher : <![CDATA[Lembaga Penelitian dan Pengabdian kepada Masyarakat, Universitas Negeri Jakarta ]]>
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DOI: 10.21009/lililacs.042.04
<![CDATA[This study identifies and compares the translation procedures used by Google Translate, U- Dictionary, and Kamus Inggris (Kamusku) in translating metaphors found in Edgar Allan Poe’s short stories, namely Hop Frog, A Descent into The Maelstrom and The Fall of the House of Usher. The most common procedure used by all three translation tools is reproducing the same essence in the target language. Google Translate is the most varied in its approach, while Kamus Inggris frequently deletes metaphors. The study highlights the strengths and weaknesses of each tool in handling metaphor translation. Out of 40 metaphors, Google translate used the procedure for 21 times, U-Dictionary used it for 19 times, and Kamus Inggris (Kamusku) used it for 20 times. Lastly, translating metaphor as simile along with its sense is not used by the three machine translations.]]>
<![CDATA[Embracing dimensions of eco-translatology in translation classroom ]]>
<![CDATA[Yasyfa Yalqa Mazidah]]>;
<![CDATA[Ati Sumiati]]>
<![CDATA[ Lililacs Journal Vol. 4 No. 2 (2024): Lililacs Journal ]]>
Publisher : <![CDATA[Lembaga Penelitian dan Pengabdian kepada Masyarakat, Universitas Negeri Jakarta ]]>
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DOI: 10.21009/lililacs.042.01
<![CDATA[Eco-translatology is a reasonably new translation approach proposed by Hu in 2020. Not only implemented in translation analysis, but some studies have also suggested the optimistic claims of using eco-translatology as an approach for classroom teaching. Eco-translatology is known for its three dimensions: linguistics, cultural and communicative. Newmark (1988) mentioned that the more specific a language becomes for natural phenomena, the more embedded in cultural features it becomes. These cultural words words are easy to detect since they are primarily associated with a particular language that cannot be translated. This study explores eco-translatology implementation by 50 English literature students in the fourth semester of Universitas Negeri Jakarta by employing a descriptive qualitative approach to explore how students apply the approach in translating general text. The writer conducted a field study that inspects the linguistic, cultural, and communicative aspects of the three dimensions of eco-translatology by Hu (2020). The writer found that among the three dimensions of eco-translatology, the linguistic dimension received the highest number, while communicative dimension the lowest. Cultural dimension may be well perceived by the students, yet they found difficulty when finding equivalence of those cultural terms. This calls for a more thorough explanation by translation teachers to guide their students in understanding this new concept of eco-translatology.]]>
<![CDATA[Big crunch singularity: Quantization of alterity and transcendence in the light of quantum entanglement or non-locality in Maurice Blanchot's Thomas the Obscure, and When the Time Comes ]]>
<![CDATA[Ghannaee Arani, Mohammad]]>;
<![CDATA[Parvaneh, Farid]]>;
<![CDATA[Chavoshian, Shohreh]]>;
<![CDATA[Bahmanpour, Bahareh]]>
<![CDATA[ Lililacs Journal Vol. 4 No. 2 (2024): Lililacs Journal ]]>
Publisher : <![CDATA[Lembaga Penelitian dan Pengabdian kepada Masyarakat, Universitas Negeri Jakarta ]]>
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DOI: 10.21009/lililacs.042.02
<![CDATA[This article is to quantize Emmanuel Levinas' manifestations of alterity and transcendence in the light of the big crunch singularity theorization, applied to the fictionality of Maurice Blanchot at a juxtaposition with the idea of the quantum entanglement or non-locality. By building its methodological foundations on the overlapping concepts of origin, image, absence, and the Other in the astrophysical and literary realms, this analytical study is to discuss how irreducible alterity of the spacetime dimensions is sustained in Blanchotian temporality of writing so as to enunciate a moment of fascination in relation with the Other and its mystery. This is where Levinas's formulation for the corrolation of time with the Other converges and anastomoses astrophysical phenomenon of quantum entanglement. How Blanchot's temporalization of writing subsists on a narrative temporality of everyday on the one hand and how it is simultaneously entangled with a diachronous extraordinary exteriority delineates where fascination reigns for Blanchot at a big crunch singularity of ethics. What Blanchot is to bring to the fore is to quantize in the space of literature such that our everyday experience of life and spacetime is definitely entangled with another unexperienced and singular spacetime whose effects on us and vice versa are not deniable.]]>
<![CDATA[The value of women's body signs in Maman Suherman's novel Re dan Perempuan: A postmodernist study ]]>
<![CDATA[Suarni Syam Saguni]]>
<![CDATA[ Lililacs Journal Vol. 4 No. 2 (2024): Lililacs Journal ]]>
Publisher : <![CDATA[Lembaga Penelitian dan Pengabdian kepada Masyarakat, Universitas Negeri Jakarta ]]>
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DOI: 10.21009/lililacs.042.06
<![CDATA[This study aims to analyze and discover the value of body signs in Maman Suherman's novel titled “Re dan Perempuan (2021)” through a postmodernism lens. This qualitative research aims to describe the meaning behind the meaning, as a phenomenon regarding the value of women's body signs in Maman Suherman's novels based on Jean Baudrillard's postmodernism theory. The results show the depiction of sexual behavior as a phenomenon in urban society. This behavior is part of the libido system where individuals engage in passive, weak, and powerless activities, even towards their own bodies. Essentially, in the postmodernism era, the value of these body signs is the forms of bodies driven by subjects, whether capitalism or patriarchy, that have rooted in certain societies.]]>
<![CDATA[The depiction of sexism experienced by female character Elizabeth Zott in Lessons in Chemistry (2023) Series ]]>
<![CDATA[Mirani, Indar]]>;
<![CDATA[Elve Oktaviani]]>
<![CDATA[ Lililacs Journal Vol. 4 No. 2 (2024): Lililacs Journal ]]>
Publisher : <![CDATA[Lembaga Penelitian dan Pengabdian kepada Masyarakat, Universitas Negeri Jakarta ]]>
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DOI: 10.21009/lililacs.042.05
<![CDATA[This study employs the sexism theory developed by Peter Glick and Susan Fiske to examine the portrayal of sexism in the 1950s through the character of Elizabeth Zott in the series Lessons in Chemistry (2023). The research method is qualitative with a descriptive approach. This research shows that Elizabeth Zott encounters two forms of sexism in a male-dominated workplace: hostile sexism, which includes direct hostility and discrimination, and benevolent sexism, which is more subtle and paternalistic but still excludes women from equal opportunities. Elizabeth is a woman who boldly rejects the traditional roles expected by a patriarchal society and confidently asserts her independence as an individual, despite social pressures. In the face of hostile sexism, Elizabeth is determined and courageous, continuing her career in science despite facing direct discrimination and challenges. She also challenges social expectations that limit women's roles and demands change for gender equality in the face of benevolent sexism. This study highlights Elizabeth's resistance strategies against both forms of sexism and the importance of understanding and addressing various forms of sexism in a male-dominated workplace.]]>
