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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 80 Documents
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CROSSING WORLDS: PORTAL FANTASY IN NOVEL THE LION THE WITCH AND THE WARDROBE, KOREAN NOVEL SOLO LEVELING AND COMIC MANGA THAT TIME I GOT REINCARNATED AS A SLIME Iskandar, Iskandar; Priyawan, Pepen; Suswanto, Deni
Saksama: Jurnal Sastra Vol. 3 No. 2 (2024): 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.v3i2.38448

Abstract

This article explores the representation of portal fantasy in three distinct works: The Lion, the Witch and the Wardrobe by C.S. Lewis, Solo Leveling Volume 1 by Chu-Gong, and That Time I Got Reincarnated as a Slime Volume 1 by Fuse. The research problem centers on how the portal fantasy formula is adapted and represented in different literary forms novels and manga. Drawing on theories from Farah Mendlesohn on fantasy genres, E.M. Forster on key elements of novels, and Will Eisner on comics, the study employs a comparative literature approach and qualitative methods, including close reading and textual analysis. The analysis focuses on key elements such as setting, plot, motif, and character to uncover how these works embody the portal fantasy genre. The findings reveal that each work utilizes the portal concept uniquely to achieve distinct narrative purposes: The Lion, the Witch and the Wardrobe emphasizes the contrast between the real world and a magical one, offering moral and exploratory adventures, Solo Leveling presents a dynamic, challenge-filled journey that serves as a metaphor for personal growth and transformation and That Time I Got Reincarnated as a Slime explores themes of identity and adaptation through the protagonist’s reincarnation in a fantastical world. The results highlight the versatility of the portal fantasy genre in conveying complex themes of transformation, identity, and exploration across different media. This study contributes to a deeper understanding of how portal fantasy functions within various literary forms, offering insights into its narrative potential and thematic richness.
THE IMAGE OF MUSLIM WOMEN IN TV SERIES "WE ARE LADY PARTS" (2021) Anisa, Zahratu Mutiara; Faisal, Bunyamin; Paturohmah, Pepi Siti
Saksama: Jurnal Sastra Vol. 3 No. 2 (2024): 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.v3i2.39849

Abstract

This research looks at how Muslim women are portrayed in director Nida Manzoor's TV series “We Are Lady Parts” (2021). The research is using the representation theory by Stuart Hall and Islamic feminism by Fatima Mernissi. This research aims to determine two things: first, how Muslim women are portrayed in the TV series “We Are Lady Parts” (2021); and second, how Muslim women are described in the show. The results of this study are classified into two, namely first, the images of Muslim women in the TV series “We Are Lady Parts” (2021) consist of the characterization of women consisting of physical aspects, Muslim women and their interactions, Muslim women in dealing with difficult situations, and Muslim women in their daily activities. Second, the representation of Muslim women depicted in the TV series “We Are Lady Parts” (2021) produces representations of educated Muslim women, Muslim women with a culture of love and marriage, Muslim women who have careers and hobbies, Muslim women and the struggle of misrepresentation.
MY NAME IS RED: WESTERN INFLUENCE AND CLASH OF CULTURE Wicaksono, Bagus Prawira Satrio; Sakinah, R Myrna Nur
Saksama: Jurnal Sastra Vol. 3 No. 2 (2024): 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.v3i2.42559

Abstract

This article mainly focuses in exploring the impacts of Western influence on Ottoman culture especially depicted in Orhan Pamuk's novel, My Name Is Red. It learns the ways in which Western artistic styles, philosophies, and social norms which spread and clashed with traditional Ottoman values and practices. Using literary analysis method which focused in related materials, related sources, and the novel itself. This analysis delves and try to find roots of specific examples of cultural conflict that might be caused by western influence, such as exploring the tension happened in the novel between traditional miniature painting style and Western oil painting, where painter who deeply rooted to traditional ways, struggling to adapt with many new techniques introduced and developed by western artists. Next is the clash between Islamic and Christian worldviews which intensified because of the existing western influence, and challenges faced by Ottoman women in navigating a rapidly changing society and even how unsatisfied they are with the current system. Ultimately, the study aims to explain the complex interplay between tradition and modernity in the context of colonial encounter and cultural exchange and eventually answers why the problem happen and how to avert, adapt, or even understand the reasoning behind those cultures.
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
SOLVING THE FORMULA: AN ANALYSIS OF MYSTERY STRUCTURE ON MURDER ON THE ORIENT EXPRESS Fathan Fadhlullah, Muhammad Sayyid; Baheransyah, Zahwa Bilbina Putri; Nugroho, Agung Dwi
Saksama: Jurnal Sastra Vol. 4 No. 2 (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.v4i2.47309

Abstract

This article discusses Kenneth Branagh's film Murder on the Orient Express (2017) through John G. Cawelti's popular formula theory, particularly in the context of the mystery genre. This study aims to examine how the narrative structure typical of the detective genre—consisting of the stages of crime, investigation, and resolution—is adapted in the medium of film. By utilizing Cawelti's theory, which emphasizes the combination of convention and innovation, this analysis shows that the film retains the main elements of the mystery formula while introducing aesthetic and moral variations that reflect contemporary values. The use of cinematic techniques such as temporal manipulation, limited perspective, and mise-en-scène enhances the audience's experience in following the investigation. Additionally, the film's theme of alternative justice adds a complex ethical dimension to Agatha Christie's classic narrative. This study confirms that Murder on the Orient Express is not merely a passive adaptation but a critical and relevant reinterpretation of the genre formula within the context of modern popular culture.
SLICE OF LIFE FORMULA IN JONAH HILL’S MID90S (2018) FILM Rusmawan, Dendy Abyaz; Ropaidah, Anisa
Saksama: Jurnal Sastra Vol. 4 No. 2 (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.v4i2.47525

Abstract

Mid90s (2018), a film directed by Jonah Hill, masterfully employs a slice-of-life formula to depict the coming-of-age of Stevie, a thirteen-year-old in 1990s Los Angeles, abstracting the often-unspoken complexities of adolescence through a series of loosely connected, observational vignettes rather than a traditional linear narrative. The film eschews explicit plot points and grand dramatic arcs, instead immersing the viewer in the mundane yet formative experiences of Stevie's summer: the tentative steps into a new social group of older, rebellious skateboarders, the awkward fumbling with identity and belonging, the casual cruelty and genuine camaraderie within the group, and the subtle shifts in his relationship with his troubled home life. Through extended, unhurried scenes of skateboarding, loitering, and late-night conversations, the film captures the raw, unfiltered essence of youth, where moments of boredom, exhilaration, vulnerability, and fleeting independence coalesce to form the fragmented but deeply impactful mosaic of a boy finding his place in a chaotic world, allowing the audience to intuit the emotional and psychological shifts occurring beneath the surface of everyday interactions.
DETECTIVE PATTERNS IN THE PALE BLUE EYES (2022) FILM Sulistyani, Syabrina Sri; Bella Siti Nur Azizah
Saksama: Jurnal Sastra Vol. 4 No. 2 (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.v4i2.47534

Abstract

This study explores the application of John G. Cawelti's classic detective formula in the film The Pale Blue Eye (2022), which is an adaptation of Louis Bayard's 2003 novel. As part of popular literature, the film represents the enduring appeal of the mystery-detective genre through recognizable narrative patterns and conventions. Using a qualitative descriptive approach and narrative analysis techniques, this study identifies how the six main elements of the classic detective formula (1) mysterious crime situation, (2) introduction of the detective character, (3) investigation process, (4) announcement of the solution, (5) explanation of the solution, and (6) final resolution, are implemented in the film's story structure. The results of the analysis show that the film not only follows the conventional structure of the detective genre, but also enriches the narrative through additional elements such as a Watsonian-style narrator (Edgar Allan Poe) and the existence of a two-layer solution that deviates from the role of the classic detective as a neutral and detached figure. Thus, The Pale Blue Eye proves the flexibility and cultural relevance of the detective story formula in contemporary popular media, as Cawelti's theory suggests that genre conventions serve as both structural guides and mirrors of cultural meanings.
BECOMING THE MAY QUEEN: THE IMAGINARY, THE SYMBOLIC, AND THE REAL IN ARI ASTER’S MIDSOMMAR FILM Haromain, M. Zia Al; Abqory, M. Naufal
Saksama: Jurnal Sastra Vol. 4 No. 2 (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.v4i2.47633

Abstract

This article explores Ari Aster’s Midsommar (2019) through a Lacanian psychoanalytic lens, focusing on the protagonist Dani’s psychological transformation as she navigates trauma, desire, and identity within the framework of Lacan’s tripartite register: the Imaginary, the Symbolic, and the Real. The film, positioned within the realm of popular horror cinema, offers a fertile text for examining how contemporary narratives ritualize and aestheticize psychological breakdowns. Dani’s disintegration following personal loss is restructured through her encounter with the Harga community, which functions as a symbolic order offering both the illusion of belonging and a mechanism of sublimation. Her final acceptance as the May Queen signifies not merely empowerment, but a complex negotiation between desire, repression, and the Other. Through this reading, Midsommar emerges as a modern cultural artifact that stages psychic trauma within the structures of popular visual culture, revealing the entanglements between horror, identity, and symbolic violence.
RACE, RELIGION, AND THE MORAL OF WHITENESS: A POSTCOLONIAL READING OF NADINE GORDIMER’S COUNTRY LOVERS Nurrachman, Dian; Dody S. Truna; Ilim Abdul Halim; Mohammad Ziaul Haq
Saksama: Jurnal Sastra Vol. 4 No. 2 (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.v4i2.52685

Abstract

This article examines Nadine Gordimer’s Country Lovers through an integrated framework drawn from postcolonial criticism, critical race theory, and the genealogy of religion. It argues that Gordimer’s short story offers a concentrated narrative archive of how race and religion function as co-constitutive systems of colonial power. Using a mimetic method of literary criticism, the study treats the narrative as a representational site where social, legal, and moral structures of apartheid South Africa are reproduced and contested. The analysis is grounded in the contemporary understanding of race as a sociohistorical construct whose apparent naturalness conceals political and institutional production. The study also draws on Talal Asad’s formulation of religion as a historically contingent category shaped by European intellectual and colonial histories, as well as Malory Nye’s and Theodore Vial’s arguments that race and religion are inseparable “conjoined twins” of modernity. Within this theoretical constellation, Country Lovers emerges as a text that discloses how Christian-inflected moral orders and secular legal practices jointly uphold racial hierarchies. Close readings of key narrative scenes—Paulus and Thebedi’s secret encounters, the description of the mixed-race infant, the court proceedings, and Thebedi’s coerced silence—demonstrate the ways in which whiteness operates as moral purity while blackness is aligned with sin, transgression, and disposability. By analyzing these narrative elements as mimetic representations of structural power, the article argues that Gordimer’s work illuminates the afterlives of colonial religio-racial discourse in modernity. Ultimately, the study contends that Country Lovers not only critiques apartheid but also exposes the deeper moral and epistemic architectures through which colonialism continues to shape postcolonial consciousness. The article contributes to broader scholarly conversations about decolonization by foregrounding literature as a site where racialized religious imaginaries are produced, contested, and potentially transformed.
FEMINISM AT THE CROSSROADS OF FAITH AND SOCIAL POWER IN DOROTHEA ROSA HERLIANY’S PEREMPUAN BERDOSA Sudarisman, Yoga; Nugraha, Rachmat; Lustiyowati, Ana; Solahudin, Dindin; Abidin, Yusuf Zainal
Saksama: Jurnal Sastra Vol. 4 No. 2 (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.v4i2.53130

Abstract

This article examines the female body within a feminist framework that operates at the intersection of religion and social space through a reading of Dorothea Rosa Herliany’s poem Perempuan Berdosa. The poem portrays a woman burdened by accusations of sin and by the symbolic violence imposed upon her body by society. Images of being hunted, pressed down, and judged reveal how religious and social norms often position women as the source of moral wrongdoing. Feminist analysis challenges these patterns by asserting that women possess voices and lived experiences that cannot be reduced to moral stigma. Through this poetic reading, the article argues that the female body can become a site of resistance against patriarchal control and unjust moral scrutiny. Women’s awareness of their bodies and experiences opens possibilities for renegotiating identity, spirituality, and their place within everyday social life.

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