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Yoga Sudarisman
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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 74 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

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