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"Penelitian ini betujuan untuk melihat bagaimana faktor-faktor penentu seseorang melakukan Coming Out sebagai transgender dari laki-laki menjadi ‘perempuan' melalui tokoh Eriko di dalam novel Kitchen. Teori yang digunakan dalam penelitian ini adalah teori Coming out dari Deana F. Morrow (2006) sebagai konsep dasar penelitian. Dalam menganalisis, penulis menyertakan kutipan dari novel Kitchen, juga menyertakan artikel surat kabar dan artikel wawancara sebagai data. Dari hasil analisis ditemukan bahwa tokoh Eriko menentukan identitas gender barunya dengan alasan tekanan internal, tekanan eksternal, terbangunnya kepercayaan dan keterbukaan, untuk menjalani kehidupan yang autentik, dan kesediaan diri dalam menerima konsekuensi sebagai transgender. Selain itu, juga ditemukan kritik terhadap masyarakat Jepang terhadap transgender yang sering kali mendapat perlakuan diskriminatif.

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This research aims to see how the determinants of a person's coming out as a transgender from male to "female" through Eriko's character in the novel Kitchen. The theory used in this research is Deana F. Morrow's Coming out Theory (2006) as the basic concept of the research. In the analysis, the author included quotations from the novel Kitchen, also newspaper articles and interview articles as data. The analysis, shows that Eriko's character determines her new gender identity due to internal pressure, external pressure, the establishment of trust and openness, and to live an authentic life, and the self-will to accept the consequences of being transgender. In addition, there is also criticism of Japanese society towards transgender people, who are often discriminated against.

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"ABSTRAKPenelitian ini bertujuan untuk melihat bagaimana transgender direpresentasikan di dalam manga berjudul Yuureitou karya Nogizaka Tarou. Representasi transgender dalam manga ini diwakilkan pengarang melalui tokoh bernama Sawamura Tetsuo. Dia merupakan seorang transgender female-to-male. Data-data di dalam penelitian ini dianalisis menggunakan teori semiotika Roland Barthes. Temuan utama dalam penelitian ini adalah transgender direpresentasikan sebagai seseorang yang memiliki refleksi wujud idealnya masing-masing, memiliki keinginan untuk menjalin hubungan romantis, dan berusaha untuk menghilangkan sisi gender yang mereka anggap bukan bagian dari diri mereka. Selain itu, Nogizaka Tarou selaku pencipta manga Yuureitou juga berusaha untuk memberikan edukasi terhadap masyarakat luas mengenai kaum transgender dengan harapan diskriminasi terhadap kaum transgender akan berkurang dan dapat meluruskan beberapa stereotip transgender yang melenceng.

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ABSTRACTThis research aims to explain how the concept of transgender is represented in Nogizaka Tarou's Yuureitou manga. The representation of the aforementioned concept in this manga is shown by the author through a character named Sawamura Tetsuo, a female-to-male transgender. The data in this research were analyzed using Roland Barthes's semiotic theory. The main finding in this research is that the transgenders are represented as someone who have their respective ideal reflections, each of whom have the desire to establish a romantic relationship, and are trying to eliminate the gender norms that they consider are not part of themselves. In addition, Nogizaka Tarou as the creator of the Yuureitou manga also supports the education about transgender people to the society, with the hope that opposing movement towards transgender people will come into ease and further realign the misconceptions of the transgender stereotypes."

"Meskipun individu transgender telah berjuang agar diterima dalam masyarakat, kini mereka lebih terlihat di dalam budaya populer terutama dalam film. The Danish Girl 2015 dan Dallas Buyers Club 2013 merupakan film-film Hollywood yang menampilkan peran transgender sebagai pemeran utama. Tujuan dari penelitian ini ialah menganalisa peran transgender, Einar Wegener Lili Elbe di film The Danish Girl dan Rayon dalam film Dallas Buyers Club untuk menemukan cara mereka menemukan jati diri mereka sebagai transgender, dan hubungan kekuasaan antara pasangan transgender dan non-transgender. Analisis ini menggunakan perspektif Gregory G. Bolich's pada transgender serta Lynn 2009 mengenai perilaku sexual, dan Joslin-Roher and Wheeler 2009 pada hubungan dengan pasangan. Artikel ini menjelasakan bahwa kedua film ini memperkuat stereotip gender dan relasi kekuasaan yang seimbang dan tidak seimbang memengaruhi Einar Wegener Lili Elbe and Rayon.

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Although transgender individuals have been struggling to be accepted in a society, they are now more visible in popular culture especially movies. The Danish Girl 2015 and Dallas Buyers Club 2013 are Hollywood movies which have transgender individuals as their main characters. The purpose of this study is to analyze the transgender characters, Einar Wegener Lili Elbe in The Danish Girl and Rayon in Dallas Buyers Club in order to find they way to construct themselves as transgender and the power relation between transgender and their non transgender partner. The analysis operates within Gregory G. Bolich's perspective on transgender as well as Lynn 2009 about sexual behavior, and Joslin Roher and Wheeler 2009 on relation with the partner. This article finds that both movies reinforce gender stereotypes and how a balanced and an unbalanced power relation affects Einar Wegener Lili Elbe and Rayon."

"Teknologi transgender dapat dipahami sebagai bentuk integrasi teknologi dalam kehidupan transgender, yang menciptakan sebuah entitas baru melampaui “batasan” identitas yang ditetapkan. Istilah transgender merujuk individu yang identitas gendernya berbeda dengan identitas gender yang dilekatkan ketika mereka lahir. Secara sosial, politik, ekonomi, pendidikan, kesehatan, dan hal-hal keseharian lainnya, individu transgender cenderung mengalami pengalaman yang berbeda, di mana persoalan ini diakibatkan adanya penempatan label yang berbeda dengan pengalaman gender yang dirasakan oleh individu. Pandangan tradisional mengenai gender cenderung mengabaikan eksistensi pengalaman gender queer semacam ini. Penelitian ini dilakukan dengan metode pasca fenomenologi untuk mengkaji bagaimana teknologi mampu mendefinisikan kembali gender bagi manusia dan pengaruhnya terhadap individu transgender, terutama dalam menciptakan kembali diri. Dalam tulisan ini, penelitian dilakukan dengan menganalisis subjek dan objek kajian melalui teori transhumanisme. Menurut teori transhumanisme, teknologi mampu membawa manusia menjadi suatu entitas yang bebas memilih diri yang diinginkan. Teknologi transgender memiliki nilai yang mampu untuk mentransformasi individu transgender melampaui batasan yang dimiliki serta mampu untuk mencapai aktualisasi diri. Dengan demikian, terjadi perwujudan atas imajinasi mengenai diri dengan realitas dan pengalaman nyata yang dijalani.

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Transgender technology can be understood as the integration of technology into the lives of transgender individuals, creating a new entity that transcends the "limitations" of assigned identities. The term transgender refers to individuals whose gender identity differs from the gender assigned to them at birth. Socially, politically, economically, in education, health, and in everyday experiences, transgender individuals tend to have different experiences due to the imposition of labels that do not align with their gender experiences. Traditional views on gender tend to overlook the existence of such genderqueer experiences. This research employs a post-phenomenological method to examine how technology can redefine gender for humans and its impact on transgender individuals, particularly in the process of self-recreation. In this paper, research is conducted by analyzing the subject and object of study through the lens of transhumanism theory. According to transhumanism theory, technology has the potential to enable humans to become entities that can freely choose their desired selves. Transgender technology holds value in transforming transgender individuals beyond the limitations they face and enabling self-actualization. Thus, it brings about the realization of self-imagined identities into lived realities and experiences."

"Penelitian ini bertujuan mengungkapkan representasi transgender dalam film Karera ga Honki de Amu Toki Wa (2017)—disingkat KHAT—karya Naoko Ogigami dan implikasinya terhadap penelitian-penelitian terdahulu yang membahas representasi transgender dalam media populer. Penelitian ini menerapkan teori representasi oleh Stuart Hall (1997) sebagai kerangka berpikir dan metode analisis teks serta metode analisis interpretasi komposisi visual. Penelitian ini menemukan bahwa film KHAT merepresentasikan transgender secara positif sebagai wujud ideologi Ogigami yang ingin menggambarkan transgender sebagai manusia yang eksis dalam kehidupan sehari-hari dan memiliki hak setara. Penelitian ini menyimpulkan bahwa meskipun representasi transgender melalui tokoh Rinko—transgender laki-laki ke perempuan—bertentangan dengan representasi transgender pada umumnya dalam media populer, konsekuensi yang diambil film adalah pemangkasan realitas. Penokohan Rinko yang sangat ‘perempuan’ dan mendapat kedamaian setelah menanggalkan kejantanannya memberi kesan bahwa transgender laki-laki ke perempuan yang karakteristiknya mendekati perempuan biologis akan lebih mudah diterima masyarakat.

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This study aims to reveal the representation of transgender in Karera ga Honki de Amu Toki Wa (2017)—abbreviated as KHAT—directed by Naoko Ogigami and its implications for previous studies discussing the representation of transgender in popular media. This study applies the representation theory by Stuart Hall (1997) as the theoretical framework, and text analysis method as well as visual composition interpretation analysis method as the analytical tools. This study finds that KHAT represents transgender positively as a form of Ogigami ideology who wants to portray trans community as people who exist in everyday life and have equal rights. This study concludes that although the representation of transgender through Rinko—male-to-female trans character—is contrary to general representations of trans community in popular media, this film takes the risk of reducing reality. Rinko's character who is very 'womanly' and finds peace after leaving her masculinity gives the impression that male-to-female transgender whose characteristics are close to biological women will be more easily accepted by society."

"Meskipun individu transgender telah berjuang agar diterima dalam masyarakat, kini mereka lebih terlihat di dalam budaya populer terutama dalam film. Boys Don rsquo;t Cry 1999 merupakan film Hollywood yang menampilkan peran transgender sebagai pemeran utama. Tujuan dari penelitian ini ialah menganalisa peran transgender, Brandon Teena, dalam menunjukkan transgender yang secara perlahan terinternalisasi melalui interaksi dan hubungan dengan karakter lainnya. Sebagai tambahan, analisis ini dibuat untuk menemukan cara mereka membentuk dan menunjukkan diri mereka sendiri sebagai transgender dan hubungan kekuasaan antara pasangan transgender dan non-transgender. Analisis ini menggunakan perspektif Kara DeMilio pada transgender mengenai perilaku seksual. Artikel ini menjelaskan bahwa film ini menunjukkan performativitas transgender dan hubungan kekuasaan antara karakter satu sama lain, khususnya Brandon.

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Although transgender individuals have been struggling to be accepted in society, they are now more visible in popular culture especially movies. Boys Don rsquo;t Cry 1999 movie is Hollywood movie which has transgender individual as their main character. The purpose of this study is to analyze the transgender character, Brandon Teena, in performing transgender which is slowly internalized through the interaction and relation with the other characters. In addition, this analysis is created to find the way how she construct and perform herself as transgender and the power relation between transgender and their non-transgender partner. The analysis operates within Kara DeMilio perspective on transgender about sexual behavior. The article find that the movie shows the transgender performativy and also power relation between the characters, especially for Brandon. "

"ABSTRAKTesis ini membahas tentang integrasi sosial waria di masyarakat. Penelitian ini mengambil lokasi di wilayah Jakarta Timur. Metode penelitian ini adalah kualitatif, dengan fokus penelitian proses integrasi sosial waria di masyarakat serta faktor-faktor yang mempengaruhi proses integrasi sosial waria di masyarakat. Hasil penelitian menunjukkan bahwa proses integrasi sosial yang dilakukan waria di masyarakat berjalan tidak cukup baik. Adapun faktor-faktor yang mempengaruhi proses integrasi sosial waria di masyarakat antara lain jarak sosial, baik objektif maupun subjektif; adanya prasangka dan diskriminasi; adanya sistem sanksi di masyarakat; heterogenitas kelompok; mobilitas geografis; dan lamanya waria bertempat tinggal dalam suatu wilayah.

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ABSTRACT

This thesis to study about the social integration of transgender in society This research was located in East Jakarta area. The method used for this research is qualitative method, which focusing on transgender and its influenced factors in the social integration process into society. The result shows its social integration process for transgender has not done well, through the following influenced factors social distance either it is objectively or subjectively; prejudice and discriminative; commmunity sanctions; group?s heterogeneity; geographical mobility; and transgender?s duration to stay in an area."

"A feminist sociologist by training, Carla A. Pfeffer studies women whose boyfriends and husbands have not always been recognized as men in the world. The transgender partners of the women Pfeffer interviews often-but not always-take testosterone and/or pursue masculinizing surgeries in order to bring their bodies and others views of them into greater alignment with their identities as men. This, however, may present a unique dilemma for their nontransgender (or cisgender) women partners, many of whom self-identify as lesbian or as queer. The women Pfeffer interviews describe being suddenly perceived as part of an unremarkably heterosexual couple once their transgender partners are recognized by others as men. This may result in social advantages such as inclusion in family gatherings, greater social acceptance by strangers, and the ability to join regulated social institutions. However, these women also describe feeling invisible as they are pushed out of gay and lesbian social spaces and sometimes left unsure of how to describe their own sexual identities and the relationships they have with their transgender partners. In this gripping set of narrative accounts, Pfeffer urges readers to rethink their assumptions about just who and what gets to count as a real family in the 21st century. Moreover, she considers what might be learned through closer attention to (and awareness of) various postmodern reconfigurations of embodiment, families, partnerships, and identity that may bring new meanings to contemporary social life not just for the partners of transgender people, but for everyone."