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Yoga Sudarisman
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Lt. 3 Gedung Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung Jl. AH. Nasution No. 105 Cipadung Cibiru Bandung 40614 Telp. (022) 7810790 Fax. (022) 7803936
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Saksama: Jurnal Sastra
Published by UIN Sunan Gunung Djati Bandung
ISSN : -     EISSN : 29864550     DOI : https://doi.org/10.15575/sksm
Core Subject : Humanities, Art,
Arts Humanities
Saksama: Jurnal Sastra is a twice-yearly open access journal starts on the structural, post-structural, post-modern, comparative and post-colonial approaches to the critical analysis and interpretation of literature, with a special preference given to underrepresented works. Articles submitted should offer a critical viewpoint on modern works and contribute to ongoing literary discussions.
Arjuna Subject : Seni dan Humaniora - Sastra dan Teori Sastra
Articles 6 Documents
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Search results for , issue "Vol. 4 No. 1 (2025): Saksama" : 6 Documents clear
EXPLORING THE ADVENTURE GENRE WITHIN THE MULTIVERSE DIMENSION IN EVERYTHING EVERYWHERE ALL AT ONCE (2022) Permana, Nurul Aulia; Puspita, Yuhana
Saksama: Jurnal Sastra Vol. 4 No. 1 (2025): Saksama
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/sksm.v4i1.47314

Abstract

Daniel Kwan and Daniel Scheinert’s Everything Everywhere All At Once (2022) offers an innovative reinterpretation of adventure genre conventions by integrating elements of science fiction, absurdist comedy, and existential inquiry. The film reframes adventure not solely as a physical journey across dimensions, but as an emotional and psychological odyssey, centered on the protagonist Evelyn’s internal transformation. Drawing upon John G. Cawelti’s theory of adventure narrative structure, this paper examines how traditional genre patterns are reshaped within a chaotic multiverse framework. Evelyn’s “verse-jumping”—depicted as more than spatial traversal—functions as a symbolic mirror of self-reflection, exposing multiple unrealized paths within her fractured identity. Employing a qualitative research approach and content analysis methodology, the study reveals that the film transcends the conventional ‘save-the-world’ trope to explore deeper themes of self-acceptance, existential pressure, and meaning-making within ordinary life. Ultimately, Everything Everywhere All At Once revitalizes the adventure genre, presenting it in a form that resonates with contemporary narrative complexity and emotional depth.
THE ADVENTURE FORMULA IN JUMANJI: WELCOME TO THE JUNGLE (2017) Sukri, Almas; Akbar, Hairil
Saksama: Jurnal Sastra Vol. 4 No. 1 (2025): Saksama
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/sksm.v4i1.47383

Abstract

The movie Jumanji: Welcome to the Jungle (2017) is one example of a popular literature that utilizes the classic Adventure Formula in the popular fiction genre. This research aims to identify and analyze the narrative structure of the film based on the main elements in the Adventure Formula as described in the study of Popular Literature. A qualitative approach is used in this research and also uses the narrative analysis method of plot, character, conflict, and setting. The results of the analysis show that the movie adopts a traditional adventure pattern that involves the main character undergoing a mission, facing dangerous obstacles, and experiencing personal transformation through the journey. Elements such as exotic settings, fast pacing, and group dynamics enhance the film’s appeal to contemporary audiences. By referring to genre theory and the Popular Literature framework, this study shows how the movie Jumanji: Welcome to the Jungle represents the Adventure Formula with a modern and relevant approach for today's audience.
SNOWPIERCER FILM AS A REFLECTION OFCLASS STRUGGLE: A MARXIST STUDY IN THE CONTEXT OF POPULAR CULTURE Suandi, Ercika Fitria; Khairunnisa, Farah; Alfazari, M. Rafl
Saksama: Jurnal Sastra Vol. 4 No. 1 (2025): Saksama
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/sksm.v4i1.47523

Abstract

Snowpiercer (2013), directed by Bong Joon-ho, is a science fiction film set in a post-apocalyptic world where the remnants of humanity inhabit a massive train that perpetually circles the globe. The train functions not only as a means of survival but also as a representation of an entrenched and highly stratified social hierarchy. The film portrays systemic inequality and class conflict, making it a compelling subject for analysis through a Marxist theoretical lens. This article examines how class division, labor exploitation, and the struggle between the oppressed and the ruling elite are depicted through the film’s narrative and character development. Using a descriptive-qualitative method and a critical Marxist approach, this study reveals that Snowpiercer serves not merely as visual entertainment but as a potent medium for social critique—challenging capitalist systems and the ideological domination reinforced by structural inequality. The film’s portrayal of resistance among the lower class suggests the emergence of collective consciousness as a response to systemic injustice. As a work of popular literature, Snowpiercer demonstrates how cinema can transmit ideological messages, foster social awareness, and provoke critical reflection on contemporary conditions. Accordingly, the film merits recognition not only as a creative work but also as a politically and educationally relevant tool that stimulates public consciousness.
CONVENTIONS AND INVENTIONS OF THE DETECTIVE STORY FORMULA IN JONATHAN STROUD’S THE SCREAMING STAIRCASE Putri, Baiq Jasnieta Anjani; Iqbal Farhandika
Saksama: Jurnal Sastra Vol. 4 No. 1 (2025): Saksama
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/sksm.v4i1.47348

Abstract

Detective fiction is a formulaic genre that combines familiar narrative structures with the creative freedom of invention. According to John G. Cawelti, the detective story follows a recognizable pattern involving the introduction of a detective, the emergence of a mystery or crime, a logical investigative process, the announcement and explanation of the solution, and a conclusive resolution. This study analyzes Lockwood & Co.: The Screaming Staircase by Jonathan Stroud through the lens of Cawelti’s detective story formula to explore how conventional elements are maintained and what narrative inventions are introduced. The novel incorporates key conventions of the detective formula, such as a central mystery, investigation, and rational resolution. However, it also presents significant inventions, including supernatural disturbances as the central crime, teenage protagonists as investigators, and a fusion of detective and horror genres. Using a descriptive qualitative method, the analysis demonstrates that Stroud retains the structural core of the detective narrative while modifying its elements to suit a contemporary young adult and supernatural context. These findings highlight the flexibility of the detective story formula and its potential for transformation without losing narrative coherence.
A LITERATURE STUDY OF RACIAL CAPITALISM AND REPRESENTATION IN R. F. KUANG’S YELLOWFACE Rasya Putri Ramadina; Revanita, Rinda; Salsabilla Zahran Galuh Putri Subawati; Lieztya Beliana
Saksama: Jurnal Sastra Vol. 4 No. 1 (2025): Saksama
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/sksm.v4i1.47531

Abstract

This research explores the intersection of racial capitalism and representation in R.F. Kuang’s novel Yellowface (2023), which offers a powerful critique of the publishing industry’s commodification of minority voices. This research investigates how capitalist structures shape the way racial and cultural of East Asian identities are represented, appropriated, and exploited in contemporary literary production. This research uses a qualitative approach with textual analysis as the main method, applying theories of racial capitalism, identity, and representation to examine the novel’s portrayal of power dynamics, performative allyship, and white fragility. The novel centers on June Hayward, a white author who steals a manuscript from her late Asian American friend, Athena Liu, and publishes it under an ambiguous pseudonym to benefit from the diversity trend. Through this act, Kuang critiques the exploitation of marginalized experiences by dominant (white) institutions and individuals in pursuit of profit and legitimacy. The analysis reveals several major issues: first, the fetishization of exotic cultural identity as a marketable commodity; second, the silencing of subaltern voices by dominant power structures; and third, the prevalence of symbolic diversity and superficial inclusion within the creative industries. This research concludes that Yellowface not only exposes how race and cultural trauma are used as tools for economic gain in the publishing world, but also challenges the ethical boundaries of authorship, authenticity, and allyship in a racially stratified capitalist system. The novel encourages readers and cultural institutions to reflect on how they may contribute to injustice while appearing to support inclusion and representation.
MELANCHOLY AND RESISTANCE: A POSTFEMINIST READING OF LANA DEL REY’S NORMAN FUCKING ROCKWELL! ALBUM Nurani, Puspitalia Permata; Dwi Ananda, Vino
Saksama: Jurnal Sastra Vol. 4 No. 1 (2025): Saksama
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/sksm.v4i1.47304

Abstract

This article explores Norman Fucking Rockwell!, the 2019 studio album by American singer-songwriter Lana Del Rey, as a postfeminist cultural text that navigates the intersections of femininity, melancholy, and resistance in contemporary popular culture. The research addresses how Del Rey’s lyrical persona performs and problematizes postfeminist sensibility through affective narratives of vulnerability, aesthetic detachment, romantic fatalism, and ironic self-awareness. Employing a postfeminist critical framework—drawing on theories by Rosalind Gill, Angela McRobbie, Judith Butler, Sara Ahmed, and Lauren Berlant—this study also incorporates insights from popular culture theorists such as John Fiske, Dominic Strinati, and John G. Cawelti to situate the album within broader traditions of formulaic storytelling and cultural semiotics. The analysis is conducted through close reading and intertextual interpretation of all fourteen tracks, examining lyrics, performance style, and affective cues. Each track is treated as a discrete narrative unit that contributes to a larger postfeminist discourse: from the ironic empowerment in Norman Fucking Rockwell to the quiet withdrawal in Bartender, and the melancholic resistance in hope is a dangerous thing for a woman like me to have – but I have it. The study reveals that Del Rey’s work simultaneously reflects and subverts postfeminist norms by embracing emotional opacity, stylized despair, and self-reflexive critique. Rather than offering straightforward narratives of empowerment, the album presents femininity as fractured, polysemic, and politically potent in its refusal to conform to coherent neoliberal scripts. Through its interplay of confession and critique, visibility and erasure, Norman Fucking Rockwell! constructs a melancholic femininity that challenges the commodified affect of the “empowered woman” archetype. This article concludes that Del Rey’s body of work does not merely reproduce postfeminist themes, but consciously manipulates them—transforming the album into a literary and cultural text where sadness becomes strategy, and vulnerability, a form of resistance. Keywords: Postfeminism, Melancholy, Popular music, Lana Del Rey, Gender performativity

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