“
ȏͳȐǡǤȏʹȐǡȏ͵Ȑ
THE MAIN CHARACTER’S POWER FEMINISM IN THE NOVEL “SELENA” BY TERE LIYE Najma Imtinan Rasaf [1], M. Anwar Masadi [2], Nurin Naufina [3]
ȏʹȐʹ̷ǤǦǤ Ǥ
ȏͳȐȏʹȐȏ͵Ȑ
Abstractǣ ǡ
Ǥ
Ǥ ̶̶
ǡ ʹͲʹͲǤ
ǡ ǡǡ
Ǥ
ǦǦ Ǥ
ǡ
ǡ ǡ
Ǥ
ǡǡǡ
̵ Ǥ ̵
̵ Ǥ ǡ ̵ Ǥ ǡ ̵
Ǥǡ̵Ǥ ǡ
̵ Ǥ ǡ
̵ Ǥ Keywordsǣǡ ǡ
INTRODUCTION
Ǣ
ǡǡ ǡǡ
ǤǡǢ
̶̶ ̶̶ȋ
ǤǡʹͲͲͺȌǤ
Ǥ
ǡ Ǣ
ǡ ȋǡʹͲͳʹȌǤ
Ǥ
ǡ
Ǥ ǡ
ǡǡ ǡǡǤ̵Ǥ
Ǥ
Ǣ ȋǡ ʹͲͲʹȌǤ
ǡǡǡ
Ǥ
ǡ
“
ȏͳȐǡǤȏʹȐǡȏ͵Ȑ
THE MAIN CHARACTER’S POWER FEMINISM IN THE NOVEL “SELENA” BY TERE LIYE Najma Imtinan Rasaf [1], M. Anwar Masadi [2], Nurin Naufina [3]
ȏʹȐʹ̷ǤǦǤ Ǥ
ȏͳȐȏʹȐȏ͵Ȑ
Abstractǣ ǡ
Ǥ
Ǥ ̶̶
ǡ ʹͲʹͲǤ
ǡ ǡǡ
Ǥ
ǦǦ Ǥ
ǡ
ǡ ǡ
Ǥ
ǡǡǡ
̵ Ǥ ̵
̵ Ǥ ǡ ̵ Ǥ ǡ ̵
Ǥǡ̵Ǥ ǡ
̵ Ǥ ǡ
̵ Ǥ Keywordsǣǡ ǡ
INTRODUCTION
Ǣ
ǡǡ ǡǡ
ǤǡǢ
̶̶ ̶̶ȋ
ǤǡʹͲͲͺȌǤ
Ǥ
ǡ Ǣ
ǡ ȋǡʹͲͳʹȌǤ
Ǥ
ǡ
Ǥ ǡ
ǡǡ ǡǡǤ̵Ǥ
Ǥ
Ǣ ȋǡ ʹͲͲʹȌǤ
ǡǡǡ
Ǥ
ǡ
ȏͳȐǡǤȏʹȐǡȏ͵Ȑ
ǡ ǡǡ
ȋǡʹͲͳʹȌǤ
Ǣ
Ǥ
ǡ Ǥ
Ǧ ȋǡʹͲͳȌǡ
ǡǤ
ȋ
ȌǢ ̵ǡǡ
Ǥ
ǡ Ǣ
ȋ Ȍ ǡ ǡ
ȋǡʹͲͳʹȌǤ
ǡ
Ǥ Ǣ
ǡ̵ǡͳͷǦͳͷǦǦ
Ǥ
ǡ ǡǡǡ
Ǣ
Ǥǡ Ǥ
ǡ ̵ ǡ
Ǥ ǡǤ
Ǥ ̵
Ǥ Naomi Wolf’s Feminism of Power
ǡ ͳͻͻǡ
Ǣ ͳͺ ǡ ͳ
Ǥ
Ǣ ̶̶ ǡǡ
ǡ ȋǡͳͻͻͻȌǤ
ǡ ǡ
ȋƬǦǡʹͲʹͲȌǤǡǡ ǡ
ǡǡ
ȋǡͳͻͻͻȌǤ
̵ͳ Ǥ ǡ
Ǥǡ̶̶
̶ǡ̶
ǡ ǡǡǤ
ǡǡǡǡ
ȋǡͳͻͻͻȌǤ
ǡǤ
Ǥ ǡ
ǡǡ
ǡ Ǥ ȋ
ǡʹͲͳȌǡ
ǡǡ
Ǥ
ǡ ǡǤ ǡ
Ǣ ǡ
ǡ ǡǡ
“
ȏͳȐǡǤȏʹȐǡȏ͵Ȑ
ȋǡͳͻͻͻȌǤ
ǡ Ǥ ǡ
ǡ ̶Ǥ̶
ǡ ǡ ǡ ̶ ̶
ǡ ̶ ̶
̶ ̶ ǡ
ȋǡͳͻͻͻȌǤ
ǡ ǣ
ǡ Ǧǡ ǡ ǡ ǡ ǡ Ǥ
ǡ
Ǣ ǡ
ǡ ̵ȋǡ ͳͻͻͻȌǤ
̵ ǡ
Ƭ̵ ȋʹͲʹͳȌ
Nur Eine FrauǢ
̵ Ǣ
Ǣ Ǣ
ȋƬǡʹͲʹͳȌǤ̵
̵ ǤȋʹͲʹʹȌ̵ Alaska
Ǣ
̵
ȋǤǡʹͲʹʹȌǤ
ǡȋʹͲͳͻȌǢ ǡ
Destroy, She Said Ǥ ̵
Ǣ
ǡǡ Ǥǡ
ȋǡʹͲͳͻȌǤ
ǡǢ
ȋʹͲͳͻȌǤȋʹͲʹʹȌ
̵ ǡ
̵ ȋʹͲʹͳȌ ǡ
ǡ̵
Ǥ
ǡ
sci-fi
ǡǡ
ǡ Ǥ ǡ
Ǥ ǡ
̶ Ǥ̶
̵
Ǥ METHOD
ȋƬǡ ʹͲͳͻǢ ǡ ʹͲͳ͵ȌǤ
Ǥ
ǡ ̵ Ǥ
̵ǡǡ
“
ȏͳȐǡǤȏʹȐǡȏ͵Ȑ
ȋǡͳͻͻͻȌǤ
ǡ Ǥ ǡ
ǡ ̶Ǥ̶
ǡ ǡ ǡ ̶ ̶
ǡ ̶ ̶
̶ ̶ ǡ
ȋǡͳͻͻͻȌǤ
ǡ ǣ
ǡ Ǧǡ ǡ ǡ ǡ ǡ Ǥ
ǡ
Ǣ ǡ
ǡ ̵ȋǡ ͳͻͻͻȌǤ
̵ ǡ
Ƭ̵ ȋʹͲʹͳȌ
Nur Eine FrauǢ
̵ Ǣ
Ǣ Ǣ
ȋƬǡʹͲʹͳȌǤ̵
̵ ǤȋʹͲʹʹȌ̵ Alaska
Ǣ
̵
ȋǤǡʹͲʹʹȌǤ
ǡȋʹͲͳͻȌǢ ǡ
Destroy, She Said Ǥ ̵
Ǣ
ǡǡ Ǥǡ
ȋǡʹͲͳͻȌǤ
ǡǢ
ȋʹͲͳͻȌǤȋʹͲʹʹȌ
̵ ǡ
̵ ȋʹͲʹͳȌ ǡ
ǡ̵
Ǥ
ǡ
sci-fi
ǡǡ
ǡ Ǥ ǡ
Ǥ ǡ
̶ Ǥ̶
̵
Ǥ METHOD
ȋƬǡ ʹͲͳͻǢ ǡ ʹͲͳ͵ȌǤ
Ǥ
ǡ ̵ Ǥ
̵ǡǡ
ȏͳȐǡǤȏʹȐǡȏ͵Ȑ
ȋǡʹͲͲͻǢǡʹͲʹʹȌǤ Selenaǡ
ʹͲʹͲǡǡǤ
ǡ ȋͳͻͻͲȌ ǣ ǡ
Ǣ ǡǡ ǡ
Ǥǡǡ
ȋȌ̵
Ǥ ANALYSIS
ǡǡ̵
ȋǡͳͻͻͻȌǢ̵
̵Ǥ
Ǧ Ǥ
ǡ Ǥ ǡ ǡ
̵ ǡ
Ǥ
̵ ȋǡʹͲʹͳȌǤ̵
Selena ̵ǦǤ
Ǥ
ǡ
Ǣ Ǧ
Ǥ
Selena’s Resistance to Life’s Destiny
̵
ȋƬǦǡʹͲʹͲȌǤ
̵ ̵
Ǥ
"Alright, enough of these passing thoughts. I need to focus. I have to start packing. I’ll be leaving for the city of Tishri early tomorrow morning. I turned right, quickly entered the room, grabbed the travel bag.” (Liye, 2020)
ǡǡ ǡ
ǡǢǦǦ ̵Ǥ
ǡ
Ǣ Ǥ
̵ Ǣ ǡ
ǦǦ
Ǥ ̵
ǡ Ǥ
Ǧǡȋǡ ʹͲͲͳȌǤ
̵
Ǥǡǡ
̵ ǡ
Ǥ̵
Ǥ
"You push up a hundred times, kinky! That's your punishment," snapped a senior. "No way". I shook my head. "What did you say?" one of the seniors holding my collar. "No way." I answered more firmly. The seniors were about to push me. I clenched my jaw. BOOM! I let go of the punch with a
“
ȏͳȐǡǤȏʹȐǡȏ͵Ȑ
thud first. Forget the rule of who strikes first; my patience had run out. The seniors were knocked down. Tazk, who was usually restrained, decided to help me. (Liye, 2020).
̵ ǡ
ǡ Ǥ
ǡ Ǥ
Ǥ
̶ ǡ̶̵
Ǥ
Ǣ
ȋƬǡʹͲʹͳȌǤ Selena's role in the public sphere
ǡǤ
ȋǡʹͲͳͺȌǤ ǡ
Ǥ
I took a quick peek at the map that Aq was holding, turning my head to the wall of the pit. Hey, I forgot that I have that unique ability. I can accurately record whatever I see for the first time. I seemed to understand something. "How do you know about that? I mean, it requires incredible foresight, complicated calculations, and you just have to look at the wall." (Liye, 2020).
̵ Ǥ
Ǥ
Ǥǡ
ǡ Ǥ
Ǣ
Ǥ
ǡ ǡ ǡ ȋǤǡʹͲʹʹȌǤ
ǡ
Ǥ ̶ǡǡ̶
̵ ̵ Ǥ
Ǧ ǡǡ ȋǡʹͲͳͻȌǤ Selena’s Manifestation of Her Identity
ǡ
ǡ ǡ
ȋǡ ʹͲͲͻȌǤ
Ǣ
Ǥ ǡ
̵ ǡǤ
“I can conquer the academic exam, I'm sure I can. My stature is also more than enough to pass the physical exam.” (Liye, 2020).
“I am willing to do anything to be accepted there” (Liye, 2020).
“I am willing to do anything to be accepted into the ABTT” (Liye, 2020).
“I am willing to do anything to be accepted into the Shadow Academy. Really” (Liye, 2020).
ǡ
Ǥ Ǥ
ǡ
Ǥǡ
ȋƬǡʹͲʹͲȌǤ
Ǣ
“
ȏͳȐǡǤȏʹȐǡȏ͵Ȑ
thud first. Forget the rule of who strikes first; my patience had run out. The seniors were knocked down. Tazk, who was usually restrained, decided to help me. (Liye, 2020).
̵ ǡ
ǡ Ǥ
ǡ Ǥ
Ǥ
̶ ǡ̶̵
Ǥ
Ǣ
ȋƬǡʹͲʹͳȌǤ Selena's role in the public sphere
ǡǤ
ȋǡʹͲͳͺȌǤ ǡ
Ǥ
I took a quick peek at the map that Aq was holding, turning my head to the wall of the pit. Hey, I forgot that I have that unique ability. I can accurately record whatever I see for the first time. I seemed to understand something. "How do you know about that? I mean, it requires incredible foresight, complicated calculations, and you just have to look at the wall." (Liye, 2020).
̵ Ǥ
Ǥ
Ǥǡ
ǡ Ǥ
Ǣ
Ǥ
ǡ ǡ ǡ ȋǤǡʹͲʹʹȌǤ
ǡ
Ǥ ̶ǡǡ̶
̵ ̵ Ǥ
Ǧ ǡǡ ȋǡʹͲͳͻȌǤ Selena’s Manifestation of Her Identity
ǡ
ǡ ǡ
ȋǡ ʹͲͲͻȌǤ
Ǣ
Ǥ ǡ
̵ ǡǤ
“I can conquer the academic exam, I'm sure I can. My stature is also more than enough to pass the physical exam.” (Liye, 2020).
“I am willing to do anything to be accepted there” (Liye, 2020).
“I am willing to do anything to be accepted into the ABTT” (Liye, 2020).
“I am willing to do anything to be accepted into the Shadow Academy. Really” (Liye, 2020).
ǡ
Ǥ Ǥ
ǡ
Ǥǡ
ȋƬǡʹͲʹͲȌǤ
Ǣ
ȏͳȐǡǤȏʹȐǡȏ͵Ȑ
Ǥ
Ǥ
ǡ ̵ ǡǤ
̶ǡǡ̶
Ǥ ̵
ȋǡʹͲͳͻȌǤ Selena’s Actualization of Her Life Experience
ǡ ǡ
ȋǡʹͲͳͺȌǤ
ȋǤǡʹͲʹʹȌǤ
Ǧ
Ǥ
I can pass the test. Fifty kilometers long run or fifteen kilometers non-stop swim, I am ready. Passing through simulated physical toughness obstacles is also acceptable. I am used to doing it (Liye, 2020).
ǡ
Ǧ Ǥ Ǧ
ǡ
ǡ Ǣ
Ǥ
ǡ
Ǥ ̵Ǧ
Ǣ ǡ
Ǥ ̶ǡ̶
̵Ǧ ǡǡ
ǡ
Ǥ ǡ
ȋǤǡʹͲʹʹȌǤ
The Existence of Selena’s Strength and Power
̵
ǣ ǡ Ǧǡ ǡ ǡ ǡ
ǡ ȋǡͳͻͻͻȌǤǤ
I was stunned to see my "attic." It was the same shape as before, but the size was now three times larger.
This loft became very friendly. A large mirror was placed near the study table. "I hope you like your new loft, Selena." (Liye, 2020).
ǡ
̵
Ǥǡ
ǢǤ
ǡ ǡ
Ǥ
ǣ
ǡ
Ǥ ̵ Ǣ
ǡǡ ǡ
Ǥ
“
ȏͳȐǡǤȏʹȐǡȏ͵Ȑ
̶ǡ̶ǡ
Ǥ ǡ ǡǡ
ȋǤǡʹͲʹʹȌǤǡ
ǡǤ CONCLUSION
̵
Ǣ ǡ
Ǥ
ǡ ǡ
Ǥ̵
̵ ̵ǡ̵ ǡ̵
ǡ ̵ ǡ ̵
Ǥ
ǡ Ǧ
Ǥǡ
Ǣ
̵ Ǥ
Ǥ
Ǥ
REFERENCES
ǡǤ ǤǡƬǡǤȋʹͲʹͳȌǤ
ǣ Ǥ E-Journal Identitaetǡ 10ȋʹȌǡ ͳ–ͳͲǤ
ǣȀȀǤǤ ǤȀǤȀȀ ȀȀͶͳͲͳ͵
ǡǤȋʹͲͳͲȌǤThe Second SexǤǡ Ǥ
ǡǤǤȋʹͲͲͳȌǤ ǤJurnal MimbarǡNo 3ȋ͵ȌǡʹͺͶ–͵ͲͲǤ
Ǥ ȋʹͲͳͶȌǤ ȋ
ȌǤPaper Knowledge. Toward a Media History of DocumentsǤ
ǡǤȋʹͲͳͻȌǤȋ
ȌǤ Lembaga Perpustakaan dan penerbitan ȋǤ ͺǡ ͷȌǤ
Ǥ
ǡǡƬǤȋʹͲʹʹȌǤ
ǣ ǤInternational Journal of Social Scienceǡ2ȋʹȌǡͳʹͻ͵–ͳ͵ͲͶǤǣȀȀǤȀͳͲǤͷ͵ʹͷȀǤʹʹǤ͵Ͳͷͷ
Karolus, M. L. (2016). Mitos dan Komersialisasi Kecantikan : Kajian Pemikiran Naomi Wolf. Jurnal PerempuanǤ ǣȀȀǤǤȀ ǦȀǦǦǦ
ǦǦǦǦǤ
ǡǤǡƬǡǤȋʹͲʹͲȌǤ
ǣ ǤBahtera Indonesia; Jurnal Penelitian Bahasa Dan Sastra Indonesiaǡ5ȋʹȌǡͳͷ–ͳͷǤǣȀȀǤȀͳͲǤ͵ͳͻͶ͵ȀǤͷʹǤͺͻǤ
ǡǤȋʹͲʹʹȌǤDunia Sastra: Catatan Seputar Kajian Sastra dan Ragam PendekatannyaȋȌǤ
Ǥ
ǡǤȋʹͲʹͲȌǤSelenaȋǤȋǤȌǢȌǤǤ
ǡǤǤǡƬǦǡǤǤȋʹͲʹͲȌǤ ǣ
Ǥ Nusa: Jurnal Ilmu Bahasa Dan Sastraǡ 15ȋͶȌǡ ͷͲ–ͷʹͲǤ
ǣȀȀǤȀͳͲǤͳͶͳͲȀǤͳͷǤͶǤͷͲǦͷʹͲ