child psychology, 101ȋͶȌǡʹͶͳǦʹͳǤ
ǡ Ǥ ȋʹͲʹʹȌ in Eka Budianta’s
ǤǣǡͳͲȋͳȌǡͳͳǦͳͻǤ
ǡ Ǥ ȋʹͲͳͷȌǤ ǣ
ǡǦǤVeda’s Journal of English Language and Literatureǡ 2ȋʹȌǡ ͳͳͶ–ͳͳͻǤ
ǣȀȀǤ ǤȀȀͳʹͺͷͳͺͲȀʹͲͳͻͳͳʹͲǦ ͳͳͳͳ͵Ǧ Ǥ
ǡ Ǥ Ǥǡ Ƭ ǡ Ǥ Ǥ ȋʹͲʹͳȌǤ
ǤǤ
ǡ Ǥ ȋʹͲʹʹȌǤ ǣ
Ǥ À ǡ ͳȋͲͻȌǡͳʹǦͳͶǤ
Ryan, J. C. (2020). “The pained and silent song of a branch”: Ecological precarity
ǤJournal of Postcolonial
Writingǡ 56ȋͶȌǡ Ͷͺͺ–ͷͲʹǤ
ǣȀȀǤȀͳͲǤͳͲͺͲȀͳͶͶͻͺͷͷǤʹͲʹͲǤͳʹͺ͵ʹ
ǡ Ǥ ȋʹͲʹͳȌ ǣ Ǥ
ǣȀȀ Ǥ ȀȀǦǦǦǦ
Ȁ
FEMALE MASCULINITY IN THE NOVEL
"WANASITU ANNI IMRA'AH" BY IHSAN ABDUL QUDDUS BASED ON JOHN BEYNON'S
PERSPECTIVE
Nuratul Muntahana, Abdul Basid
ǣͳͻ͵ͳͲͲͷͶ̷ǤǦǤ Ǥ
Abstract: ǡ
Wanasitu Anni Imra'ah
Ǥ
̵ Ǥ
Ǥ
Ǧ Ǥǡ
Ǣ ǡ
ǡ Ǥ ǣ ͳȌ
ǡ
ǡ ǡǡ
ǡǡ ǡ ǡ
ǡ Ǣ ʹȌ
ǡ ǣ ǡ
ǡ ǡ ǡ
ǡ ǡ ̵ ǡ ̵
ǡǡ Ǥ Keywords: masculinity, female, novel.
INTRODUCTION
Ǥ
Nuratul Muntahana, Abdul Basid
ȋǡǡƬǡʹͲʹͳȌǢ
ǡ ǡ ̵
ȋ Ȍ
ȋǡʹͲͳȌǤ ̵
Ǥ ǡ
ȋǡʹͲͳǢǡʹͲͳͻȌǤ
Ǥ ǡ
ȋǡ ʹͲʹͲȌ
Ǥ ǡ
ȋǡʹͲʹͲȌǤǡȋͳͻͻͺȌ
̶ ̵ ̵ ǡ
ǡ Ǥ̶
ǡ Ǥ
ȋǡ ʹͲͳͻȌǢ
Ǥǡ
Ǥ
ȋ Ƭ ǡ ʹͲʹͳȌǤ
ǡ
ǡ
ǡ Ǧ Ǧ ǡ ǡ
Ǥ
Ǥ
Ǥ ǡ
Ǥǡ
ȋǡʹͲͳʹȌǤ
ǡ
ǡ Wanaitu Anni Imra'ahǤ
Ǥ ǡ ǡ
Ǥ ǡ
̵
Ǥ
Ǥ ǡ
ȋǡǡƬǡʹͲʹͳȌǢ
ǡ ǡ ̵
ȋ Ȍ
ȋǡʹͲͳȌǤ ̵
Ǥ ǡ
ȋǡʹͲͳǢǡʹͲͳͻȌǤ
Ǥ ǡ
ȋǡ ʹͲʹͲȌ
Ǥ ǡ
ȋǡʹͲʹͲȌǤǡȋͳͻͻͺȌ
̶ ̵ ̵ ǡ
ǡ Ǥ̶
ǡ Ǥ
ȋǡ ʹͲͳͻȌǢ
Ǥǡ
Ǥ
ȋ Ƭ ǡ ʹͲʹͳȌǤ
ǡ
ǡ
ǡ Ǧ Ǧ ǡ ǡ
Ǥ
Ǥ
Ǥ ǡ
Ǥǡ
ȋǡʹͲͳʹȌǤ
ǡ
ǡ Wanaitu Anni Imra'ahǤ
Ǥ ǡ ǡ
Ǥ ǡ
̵
Ǥ
Ǥ ǡ
Ǥ
Ǥǡ ǡ
Ǥ
ǡ
Ǥ ǡ ǡ
ǡ ȋǡʹͲͲͻȌǤ
ǡ ǡ
̵ Ǥ Masculinity From John Beynon's Perspective
ȋʹͲͲʹȌ
ǡ ǡ ǡ ǡ
ǡ Ǥ ȋʹͲͲʹȌ
Ǥ ǡ Ǥ
ǡ ǡǡǡ
ǡ ǡ ǡ ǡ ǡ Ǧ ǡ ǡ ȋǡ ʹͲͲʹȌǤ
ǡ ǣ
ǡǡǡ Ǥ
ȋʹͲͲʹȌ
ǡ
Ǣ Ǥ
ǡ
ȋǡʹͲͲʹȌǤȋʹͲͲʹȌ
̵ ̵ Ǥ
ǡ ̵̵
ǡ ǡ ǡǡ ǡ
ǡ ̵ ̵
Ǥ ǡ Ǥ
Ǥ
ǡ
ǡǡȋǡʹͲͲʹȌǤ
ǡ
ȋƬǡʹͲʹͳǢƬǡʹͲʹͳȌǣ Masculine before the 1980s
Ǧ
Ƭǡ ȋƬ
Nuratul Muntahana, Abdul Basid
ǡʹͲʹͳȌǤ ǡ
Ǥ
Ǥ
Ƭ ȋʹͲʹͳȌ
ͳͻͺͲǡ
ǡǣ
• No Sissy Stuff ǣ ȋ Ȍ
ȋ Ƭ ǡ ʹͲʹͳȌǤ ǡ
ȋǡǡƬǡʹͲʹͳȌǤ
• Be a Big Wheel ǣ ȋ Ȁ Ȍ
ǡ ǡ Ǥ
Ǥ
• Be a Sturdy Oak ǣ ȋ Ȍǣ
ǡ ǡ Ǥ
ǡǡǤ
• Give them Hellǣȋ Ȍ
Ǥ Masculine in the 1980s
way. John Beynon suggested the term “New Man” to refer to a phenomenon that
ͳͻͺͲȋʹͲͲʹȌǤǡ
̵
Ǥ
ȋǡ ʹͲʹͲȌǤ
ȋǡʹͲͲʹȌǤ
•
̵ ͳͻͲ
ͳͻͺͲǡ ̵ǦȋǡʹͲͲʹȌ
Ǥ
ǡ ǡ
ȋǡʹͲͲʹȌǤǡ ǡ
ǡ Ǥ ǡ
ǡʹͲʹͳȌǤ ǡ
Ǥ
Ǥ
Ƭ ȋʹͲʹͳȌ
ͳͻͺͲǡ
ǡǣ
• No Sissy Stuff ǣ ȋ Ȍ
ȋ Ƭ ǡ ʹͲʹͳȌǤ ǡ
ȋǡǡƬǡʹͲʹͳȌǤ
• Be a Big Wheel ǣ ȋ Ȁ Ȍ
ǡ ǡ Ǥ
Ǥ
• Be a Sturdy Oak ǣ ȋ Ȍǣ
ǡ ǡ Ǥ
ǡǡǤ
• Give them Hellǣȋ Ȍ
Ǥ Masculine in the 1980s
way. John Beynon suggested the term “New Man” to refer to a phenomenon that
ͳͻͺͲȋʹͲͲʹȌǤǡ
̵
Ǥ
ȋǡ ʹͲʹͲȌǤ
ȋǡʹͲͲʹȌǤ
•
̵ ͳͻͲ
ͳͻͺͲǡ ̵ǦȋǡʹͲͲʹȌ
Ǥ
ǡ ǡ
ȋǡʹͲͲʹȌǤǡ ǡ
ǡ Ǥ ǡ
ǡǡǡ ǡǡ
Ǥ ǡ
ǡ Ǥ
•
ǡ
̵ Ǥ
ǡ ǡ ǡǤ
ȋǡʹͲͲʹȌǤ̵
ǡ ǡ
ǡǡǤ
Ǧ
ȋǡʹͲͲʹȌǤ
Masculine in the 1990s
Ǥ
ȋǡ ʹͲͲʹȌǤ
ȋǡʹͲͲʹȌǡ ǡ ǡ
Ǥ
ǡǡ ǡǡǤ
ȋǡʹͲͲʹȌǤ Masculine in the 2000s
ʹͲͲͲǡ
Ǥ Ǥ
Ǥ
ȋ
ȌǤ Ǧ
Ǥ ǡ
ǡ ȋ Ƭ ǡ ʹͲʹͳǢ Ƭ
ǡʹͲʹͳȌǤ
ȋʹͲͲʹȌ̵̵
ǡ Ǥǡ
Ǥ ǡ
ǡ
ǡ ȋǡ ʹͲͲʹȌ
ǡ
Nuratul Muntahana, Abdul Basid
Ǥ ǡ ǡ
ǡ ǡ ȋǡʹͲͲʹȌǤǡǡ
ǡ ǡ
ǡ ǡ
ȋǡ ʹͲͲʹȌǤ
ǡ ǡ
ȋǡͳͻͺͷǢͳͻͺͻǢʹͲͲʹȌǡǡȋǡʹͲͲʹȌǤ
ǡ
ǡ ǣ
ȋƬǡʹͲʹͲȌǤ ǡFrom New Man to New Lad: The Myth of Masculinity in NCT 127's “Kick It” Music Video
representation of masculinity in NCT 127's “Kick It” music video
ʹͲʹͲȋǡʹͲʹͲȌǤǡ
The Richard's Masculinity In Film Love For Sale 1.
̵
ȋƬǡʹͲʹͳȌǤ ǡǡǡ Ƭ ǡ Representation of Women's Masculinity in the Film "My Stupid Boss2,"
ǡ
ȋǡ ǡ Ƭ ǡ ʹͲʹͲȌǤ ǡ ǡ ǡ ǡ entitled Construction of Women's Masculinity Against Violence in Thriller Films (Analysis of Semiotics in the Film Killing Marlina Si in Four Acts)
̵
ȋǡǡƬǡʹͲʹͳȌǤ
ǡǡ ǡǡ
Representation of Female Masculinity in Agnezmo Dan Megan Fox Lakme Cosmetics Advertisement (Roland Barthes Semiotics Analysis).
ȋȌ̵Ǥ ǡ
Ͳ ȋǡ ǡƬǡʹͲʹͳȌǤǡ
ǡMasculinity and Piety in Abidah El- Khalieqy's Novel Perempuan Berkalung Turban. This study
Ǧ ȋ Ƭ
ǡ ʹͲͳͻȌǤ ǡ ǡ ǡ
Ǥ ǡ ǡ
ǡ ǡ ȋǡʹͲͲʹȌǤǡǡ
ǡ ǡ
ǡ ǡ
ȋǡ ʹͲͲʹȌǤ
ǡ ǡ
ȋǡͳͻͺͷǢͳͻͺͻǢʹͲͲʹȌǡǡȋǡʹͲͲʹȌǤ
ǡ
ǡ ǣ
ȋƬǡʹͲʹͲȌǤ ǡFrom New Man to New Lad: The Myth of Masculinity in NCT 127's “Kick It” Music Video
representation of masculinity in NCT 127's “Kick It” music video
ʹͲʹͲȋǡʹͲʹͲȌǤǡ
The Richard's Masculinity In Film Love For Sale 1.
̵
ȋƬǡʹͲʹͳȌǤ ǡǡǡ Ƭ ǡ Representation of Women's Masculinity in the Film "My Stupid Boss2,"
ǡ
ȋǡ ǡ Ƭ ǡ ʹͲʹͲȌǤ ǡ ǡ ǡ ǡ entitled Construction of Women's Masculinity Against Violence in Thriller Films (Analysis of Semiotics in the Film Killing Marlina Si in Four Acts)
̵
ȋǡǡƬǡʹͲʹͳȌǤ
ǡǡ ǡǡ
Representation of Female Masculinity in Agnezmo Dan Megan Fox Lakme Cosmetics Advertisement (Roland Barthes Semiotics Analysis).
ȋȌ̵Ǥ ǡ
Ͳ ȋǡ ǡƬǡʹͲʹͳȌǤǡ
ǡMasculinity and Piety in Abidah El- Khalieqy's Novel Perempuan Berkalung Turban. This study
Ǧ ȋ Ƭ
ǡ ʹͲͳͻȌǤ ǡ ǡ ǡ
ǡ Masculinity of the Main Character in the Collection of Short Stories by Leila S. Chudori Nadira.
Ǥ ǡ ǡ ǡ ǡ
ǡ ȋǡ
ǡ Ƭ ǡ ʹͲͳͻȌǤ ǡ ǡ entitled Female Masculinity of Alanna Trebond in Tamora Pierce's Alanna: The First Adventure (Song of the Lioness).
ǣ ȋȌ
ȋǡʹͲͳͻȌǤ
Ǥ ȋ Ƭ
ǡʹͲʹͳȌǡ ȋǡʹͲʹͲȌǡȋƬǡ ʹͲʹͲȌǡ ̵
Ǥ ȋǡʹͲͳͻǢ
ǡǡƬǡʹͲͳͻǢƬǡʹͲͳͻǢǡ
ǡƬǡʹͲʹͲǢǡ ǡƬǡʹͲʹͳǢǡǡ ƬǡʹͲʹͳȌǤ
Ǥ ȋ Ȍǡ
Ǥ ǡ ǡ ǡ
Wanasitu Anni Imra'ah
Ǥ
ǡ
Ǥ
Ǥǡǣ
ͳȌ Wanasitu Anni Imra'ahǡʹȌ
Ǥ METHOD Data collection
Ǧ
Ǥ ̵ ǡ
Nuratul Muntahana, Abdul Basid
Ǥ Ǧ
ǦǤǡ
̶ ̶ ȋǡǡƬ
ǡ ʹͲʹͳȌǤ ǡ
Ǥ ǣ
Ǥ
Data analysis
ǡ ǣ
ǣ ǡǡ Ȁ
ȋǡǡƬÓǡʹͲͳͶȌǤ
FINDINGS AND DISCUSSION
ǡ
Wanasitu Anni Imra'ah ’s
Ǥ ǡ
Ǣ
ǡ
̵ǡǣ Forms of Female Masculinity
Wanasitu Anni Imra'ahǤ
ǡ
ǣ
ͳǤ
Ǥ
ͳǤ
Ǥ Ǧ
ǦǤǡ
̶ ̶ ȋǡǡƬ
ǡ ʹͲʹͳȌǤ ǡ
Ǥ ǣ
Ǥ
Data analysis
ǡ ǣ
ǣ ǡǡ Ȁ
ȋǡǡƬÓǡʹͲͳͶȌǤ
FINDINGS AND DISCUSSION
ǡ
Wanasitu Anni Imra'ah ’s
Ǥ ǡ
Ǣ
ǡ
̵ǡǣ Forms of Female Masculinity
Wanasitu Anni Imra'ahǤ
ǡ
ǣ
ͳǤ
Ǥ
ͳǤ
ʹǤ
͵Ǥ
ͶǤ
ͳǤ ǡ
̵̵ǡ
Ǣ ǡ
ǡ ǡ ǡ
Ǣ ǡ ǡ
Ǣǡ ǡ
̵ ǣ ǡ ǡ
Ǥ
ǡ
ǣ
Be a Big Wheel
Ȁ Ǣ
ǡ ǡ
Ǥ
Ǥ
Ǥ
ǡ ǡ
Ǥ ǡ
ǡ
ǣ
ميظنت لكل ةسيئر تنكو .
I was the head of every organizationǤ..ȋǡʹͲͲͻǡǤͳͲȌ
ǡ
ǡ ǡ
Nuratul Muntahana, Abdul Basid
ǡ
Ǥ
ǡ
Ǥ
̶ ǡ̶ ǡ Ȁ
ǡ ͳͻͺͲǡ
ȋǡ ʹͲͲʹȌǤ
Ǥ
ǡ
ǡǡ
ǡ Ǥ
ǡ
Ǥ
ȋǡʹͲͲȌǤ ǡ
ǡ ǣ
.اهءارآ ضرفت ةدئاقك مدخأ نأ ..ةمـيعز ةيدايق ةيصخش نوكأ نأ
To be a leading leadership figure. To serve as a leader who imposes her viewsǤǤǤ ȋǡʹͲͲͻǡǤͺȌ
ǡ ǡ
ǡ Ǥ
ǡ
Ǥ ǡ Ǥ
Ǥ
̵
Ǥ ǡ
ǡǤ ̶
ǡ
Ǥ
ǡ
Ǥ
̶ ǡ̶ ǡ Ȁ
ǡ ͳͻͺͲǡ
ȋǡ ʹͲͲʹȌǤ
Ǥ
ǡ
ǡǡ
ǡ Ǥ
ǡ
Ǥ
ȋǡʹͲͲȌǤ ǡ
ǡ ǣ
.اهءارآ ضرفت ةدئاقك مدخأ نأ ..ةمـيعز ةيدايق ةيصخش نوكأ نأ
To be a leading leadership figure. To serve as a leader who imposes her viewsǤǤǤ ȋǡʹͲͲͻǡǤͺȌ
ǡ ǡ
ǡ Ǥ
ǡ
Ǥ ǡ Ǥ
Ǥ
̵
Ǥ ǡ
ǡǤ ̶
ǡ̶ Ȁ ȋǡ ʹͲͲʹȌǤ Ǥ
Ǥ
ǡǡ
̵ ȋǡʹͲʹͳȌǤ
ǡ
ǡ ǣ
تنبلا ةبسنلبا اـيلعلا ةدايقلا ناأف
I am the supreme leader of my daughterǤǤǤȋǡʹͲͲͻǡǤͳͷȌ
ǡ ̵ ǡ
̵ Ǥ
̵ ǡ ̵
ǡ
Ǥ
Ǥ
ǡ
ǡ Ǥ
ǡǡ
ǡ Ǥ Be a Sturdy Oak
ǡ ǡ
Ǥ ǡ
ǡ Ǥ
Ǥ
ǣ
Ǥǣ
Nuratul Muntahana, Abdul Basid
لشف زكرم لىإ لشفلا ةطقن تلوتحو .. ةرم نم رثكأ ترركت لشف ةطقن تيايح في نبأ فترعأ ،مئاد
لشفلا نم ىوقأ امئاد تنك دقو ..
I admit that in my life, there was a point of failure that was repeated more than once.. and the point of failure turned into a center of permanent loss, and I have always been stronger than failureǤǤ……ȋǡʹͲͲͻǡǤȌ
ǡ ǡ
ǡ
Ǥ Ǥ
Ǥ
ǡǤ
ǡ
Ǥ
Ǥ
Ǥǣ
ةرئاد نم جرـخأ تىـح ثدـيح نأ بيج ناك ام اذه نأ لى دكؤي ناك يلقع نكلو ةطيبع لاعف تنك ابمر رأ تىح .. يسفن ءانبل غرفتأ تىـح .. يلشـف ةيتاذلا يلحاـصـم ىلع زـك
Maybe I was foolish, but my mind was assuring me that this was what should have happened to get out of my cycle of failure..so that I could devote myself to building myself..so that I could focus on my interests...ȋǡʹͲͲͻǡǤȌ
̵ ǡ
Ǥ
ǡǡ Ǥ
ǡ Ǥ
ǡ
ǡ̵ȋƬ