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Prof. Dr. Ida Rochani Adi, S.U
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INDONESIA
Rubikon: Journal of Transnational American Studies
Published by Universitas Gadjah Mada
ISSN : 25412248     EISSN : 2654413X     DOI : https://doi.org/10.22146/rubikon
Core Subject : Humanities,
Humanities
RUBIKON, Journal of Transnational American Studies (JTAS) specializes in American Studies especially transnational studies of the U.S. It is also intended to communicate American Studies issues and challenges. This journal warmly welcomes contributors from American Studies scholars, researchers, and those related to the discipline.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 6 Documents
 1 
Search results for , issue "Vol 8, No 1 (2021)" : 6 Documents clear
POSTCOLONIAL TRANSLATION STUDIES: FOREIGNIZATION AND DOMESTICATION OF CULTURE-SPECIFIC ITEMS IN OF MICE AND MEN’S INDONESIAN TRANSLATED VERSIONS Hafizha Fitriyantisyam; Aris Munandar
Rubikon : Journal of Transnational American Studies Vol 8, No 1 (2021)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (671.258 KB) | DOI: 10.22146/rubikon.v8i1.65478

Abstract

Resistance to Western Culture can be seen through translator’s strategy of translating novels. This research aims to analyze the translation of culture-specific items in Indonesian translated versions of Of Mice and Men, originally written by John Steinbeck. The selected translated versions belong to the work of Pramoedya Ananta Toer (2003) and Ariyantri E. Tarman (2017). The translations of culture-specific items are analyzed under Transnational American Studies paradigm to find out the dominant translation principle applied in both translated versions and the results are discussed from the perspective of postcolonial translation studies. From the data, it is found out that the domestication principle is more dominant than foreignization strategy. Analyzed from postcolonial translation studies, the tendency to use the domestication principle in translated novels show the efforts of the target culture to fight against Western culture as the source culture. Although both Indonesian versions of Of Mice and Men mostly apply the domestication principle, the recent translated version (T2) shows an increase in the use of foreignization principle in which English loanwords are frequently used. From a postcolonial translation studies’ perspective, it can be concluded that target culture is against Western culture; however, the signs of cultural imperialism, especially linguistic imperialism, have grown in the recent years.
NETFLIX: CULTURAL DIVERSITY OR CULTURAL IMPERIALISM? Khansa Salsabila
Rubikon : Journal of Transnational American Studies Vol 8, No 1 (2021)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (290.259 KB) | DOI: 10.22146/rubikon.v8i1.65480

Abstract

The global rise of Netflix as subscription video-on-demand (SVOD) has emerged along with its capitalization of film, television, and technology industry for the audience's convenience. It replaces the interest of local television with its claim of 'a global TV network' with cultural diversity in its contents. However, the term cultural diversity itself should be questioned whether it means to leave the American cultural power or it is only to claim themselves as a global company where global identity is represented in their identity to attract a wider audience. By using transnational approach, this study finds the use of cultural diversity merely to fulfill the demand of the American audience, with several globalization consequences in Netflix Original series, especially in non-American series. Those consequences are the homogenization in European-made Netflix series, where they appear to be fully Americanized with American lifestyle or American perspective, and heterogenization in Asian-made Netflix series with its collaboration of Asian culture and American popular culture. The claim of a 'global TV network' itself does not leave the American cultural power. Instead, they are taking advantage of the cultural power to retain the existing audiences and to fascinate more audiences. Therefore, the dependency of non-American producers in relying on Netflix platform as a way to reach global audience, even the use of Americanization to their works for global audience's satisfaction, confirms the cultural power of America in its ability to bring economic advancement to other countries.
THE PORTRAYAL OF A KOREAN ADOPTEE’S EXPERIENCE IN NICOLE CHUNG’S ALL YOU CAN EVER KNOW: A MEMOIR OF ADOPTION Rizqia Nuur Maziyya
Rubikon : Journal of Transnational American Studies Vol 8, No 1 (2021)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (332.505 KB) | DOI: 10.22146/rubikon.v8i1.65481

Abstract

Transnational adoption has become one of the factors of transnational migration to Western countries, including America. Transnational adoption can be viewed from at least two perspectives, South Korea as the origin country and America as the targeted country. From the birth country, transnational adoption becomes a way to help the children from poverty, have a better future, and contribute to the birth country when they return. From the adoption-targeted country, this adoption is a humanitarian way to save the children from poverty, primitive way of life, and God’s blessing. One of the countries which regularly “send” the children to Western countries is South Korea. The children become Korean adoptees and mostly living in white American neighborhoods. Living with white Americans has shaped the Korean adoptees’ behavior and way of thinking same as Americans. Korean adoptees face various problems, starting from adjusting themselves in new environment, finding their cultural roots and identity, and struggling to find their biological parents. This study employed Phinnes’ ethnic identity development to make sense of the experience of a Korean adoptee called Nicole Chung in her memoir, All You Can Ever Know: A Memoir of Adoption. Through the discussion, it can be understood how transnational adoption programs become national agenda and big business field since it is not expensive to have children from other countries. There is also an assumption that the children will have better and happier life when they are taken to America and other western countries. However, throughout their life as adopted children in America, the children also find difficulties, especially in finding their identity.
BOAZ HAGIN’S PHILOSOPHY OF DEATH AS REFLECTED IN THE HUNGER GAMES TRILOGY FILMS Hidayatul Nurjanah
Rubikon : Journal of Transnational American Studies Vol 8, No 1 (2021)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (411.528 KB) | DOI: 10.22146/rubikon.v8i1.65482

Abstract

The Hunger Games is one of Hollywood films that contains deaths and deadly scenes throughout its trilogy. There are plenteous meanings of deaths that can be analyzed from the films, which will develop new meanings and definitions of deaths as an interesting topic to discuss. The researcher employed Boaz Hagin's framework of death because Hagin provides a framework about deaths and how deaths can be meaningful. In his book, he writes a broader range of philosophical description about deaths in Classical Hollywood Cinema which explores the morality and ethical values of mainstream films that portrays death as a meaningful part of life. The research problem is what is the meaning of deaths found in Hunger Games using Hagin’s framework of deaths. This research was conducted using a descriptive qualitative approach aiming at describing the phenomenon and characteristics. The data collected qualitatively by examining them throughout to get relevant issues and ideas and classify them. The findings show that death can bring meanings to characters in the films, such as a death in line where death means as a savior for their beloved ones, death as politic seen from the characters' past life that brings hope for the future, death as the Access, Authority, and Test, can be seen from how the characters use their talent to survive.
AUDIENCE PERSPECTIVE ON TODD PHILLIPS’S JOKER (2019): A LACANIAN PSYCHOANALYSIS Alifiadita Nindyarini Wirawan
Rubikon : Journal of Transnational American Studies Vol 8, No 1 (2021)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (354.553 KB) | DOI: 10.22146/rubikon.v8i1.65484

Abstract

The occurrence of American movies which raise psychological issues as part of the main theme often triggers audiences in producing various interpretations. In this respect, the writer chose one of the most popular American movies entitled Joker (2019), directed by Todd Phillips. The movie highlights not only social issues but also psychological issues that engage audiences to produce diverse interpretations, including misinterpretations toward the stereotype of people who suffer mental illness. Therefore, the writer aims to analyze further how the audience perceives and evaluates Joker (2019). Data collected through audiences’ statements in IMDb as an online database of information of films and critical reviews. Psychoanalysis Lacanian: the real, the imaginary, and the symbolic, is applied to comprehending the American audiences response and their interpretations towards Joker (2019) movie. The result of study reveals that audiences’ diverse life experience and background is actually giving major influence towards their interest, response, and interpretations to Joker (2019) movie.
DISNEY PRINCESS SEQUELS IN THE PERSPECTIVE OF SECOND WAVE FEMINISM IN AMERICA Astrinda N. Iswalono; Listiyanti Jaya Arum
Rubikon : Journal of Transnational American Studies Vol 8, No 1 (2021)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (388.231 KB) | DOI: 10.22146/rubikon.v8i1.65485

Abstract

Disney Animation Production, one of the media manifesting American sociology phenomena, discovered a breakthrough by depicting Princess movies. Starting with the appearance of Snow White (1937), followed by Cinderella (1950) and other sequels of Princess movies, Disney reflected one important progress of American history. The development of the sequels was estimated to be under the appeal of the Second Wave Feminism movement. Hypothesizing the change was within American society, a gender study by Nancy Hewitt would direct the observation of the study. The First Period Princesses (1937-1959) reflected the idea of the American Golden Age, also where the recognition of the role of women in wider society began. Meanwhile, the Second Period (1989-2009) claimed the social acceptance of public access by glorifying unique characters from women. The Princesses in the Third Period (2009-2014) were able to attest their own power in order to broaden the horizon of gender equality and equity. 

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