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"ABSTRAKIdeologi mengenai keperempuanan tidaklah tetap. Hal tersebut selalu berubah seiring dengan perkembangan zaman. Maka dari itu, terdapat beragam gambaran tentang keperempuanan yang direpresentasikan oleh televisi. Salah satu contoh penggambaran keperempuanan melalui televisi terdapat pada komedi situasi berjudul How I Met Your Mother, di mana program ini merepresentasikan dua konsep keperempuanan yang berbeda. jurnal ini bertujuan untuk menganalisis bagaimana dua pemeran utama perempuan di dalam cerita, yakni Lily dan Robin, merepresentasikan konsep perempuan dengan pemikiran tradisional dan konsep perempuan dengan pemikiran postfeminist sesuai dengan yang diungkapkan oleh Roussell 2007 . Untuk mendukung argumen penulis, jurnal ini menggunakan sudut pandang mengenai keperempuanan yang diutarakan oleh Sigmund Freud 1933 . Dengan mempertimbangkan tema komedi pada cerita HIMYM, maka satiran yang digunakan di dalam cerita juga akan menjadi bahan analisis penulis. Sebagai kesimpulannya, jurnal ini mendapati bahwa HIMYM mendekonstruksi konsep tradisional dan postfeminist melalui kedua karakter utama perempuannya. Selain itu, hasil analisis juga menemukan adanya ambivalensi yang muncul pada kedua pemeran utama perempuan.

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ABSTRACTThe ideology of woman rsquo s femininity is dynamic. It changes overtime. Therefore, there are diverse portrayals of woman rsquo s femininity in television. One interesting example of woman rsquo s femininity depiction in television is situational comedy titled How I Met Your Mother that represents portrayal of today rsquo s American woman in two different conceptualizations of femininity. This article aims to see how the two main female characters in the sitcom, Lily and Robin, embody the concepts of traditional femininity and postfeminist femininity from Roussell 2007 . This article uses the perspective of femininity by Sigmund Freud 1933 to support the research argument. Considering the theme of HIMYM is situational comedy, the satire used in the story will be also analyzed. This article finds that HIMYM deconstructs the traditional and postfeminist conceptualizations of femininity through the main female characters. However, it also reveals gender ambivalence that occurs in both main female characters."

"The article depicts the representation of contemporary women in Indonesia using sinetron or soap opera. Representation of women has been in intrigue issue since in the New Order, women have been one of several important issues. Since the tumbling down of the New Order, market has been an important mechanism of dissemination of culture, and the representation of Indonesian women is one of the icon of the media. The most obvious visualization if women not only as victim of violence but also the doer of violence itself. Women is powerful, such representation is shown by widower, grown women toward powerless little girl. As such the sinetron is not a typical soap opera visualization that tends to visualizing romantic and sensual women. In general such representation is disadvantaging the position of women, as market becomes the powerful mechanism to disseminate such image. Women be cautious"

"Producing Women examines the ways femininity is produced through new media. Michele White considers how women are constructed, produce themselves as subjects, form vital production cultures on sites like Etsy, and deploy technological processes to reshape their identities and digital characteristics. She studies the means through which women market traditional female roles, are viewed, and produce and restructure their gendered, raced, eroticized, and sexual identities. Incorporating a range of examples across numerous forms of media."Producing Women examines the ways femininity is produced through new media. Michele White considers how women are constructed, produce themselves as subjects, form vital production cultures on sites like Etsy, and deploy technological processes to reshape their digital characteristics. She studies the means through which women market traditional female roles, are viewed, and produce and restructure their gendered, raced, eroticized, and sexual identities. Incorporating a range of examples across numerous forms of media--including trash the dress wedding photography, how-to instructions about zombie walk brides, nail polish blogging, DIY crafting, and reborn doll production--Producing Women elucidates women's production cultures online, and the ways that individuals can critically study and engage with these practices"

"This essay examines the consequences of migration by looking at the relationship between migration and social transformation. In particular, it focuses on the construction of gender and how migration disrupted traditional gender relations among Hadramis from Hadramawt valley of Southern Yemen in Indonesia. It utilizes a fictional work criticizing migration as a point of departure in looking at the effects of migration on the traditional order. The text is important as it is a critique of migration written from the perspective of the Thariqah 'Alawiyyah (the dominant Sufi order in Hadramaut), thereby, highlighting the disruption caused by migration to traditional structures. The essay is divided into four parts. The first deals with the background information concerning migration and the Thariqah in order to contextualize the text The second part looks at how migration disrupts the notion of masculinity and femininity' The third part focuses on the concept of family and its reconfiguration due to migration And the final concluding section places the Hadrami migration experience into a gendered theoretical framework to illustrate that gender is historically and culturally dependent."

"Boneka Barbie selalu dikaitkan dengan hal-hal yang negatif dikarenakan standar kecantikan dan penampilannya yang tidak realistis. Oleh karena itu, Mattel membentuk sebuah kampanye baru, “You Can Be Anything”, dengan tujuan memotivasi para perempuan untuk bermimpi besar dan menjadi apapun yang mereka impikan. Salah satu cara untuk menyebarluaskan kampanye ini adalah dengan mengunggah beberapa video ke dalam channel YouTube Barbie. Artikel ini mendiskusikan bagaimana warna merah muda tidak hanya digunakan sebagai penanda feminitas tetapi juga sebagai pesan pemberdayaan. Akan tetapi, pesan ini justru menjadi ambigu terhadap tujuan dari kampanye ini. Maka, dengan menggabungkan analisis bagaimana pemberdayaan tersalur melalui program pembinaan perempuan dan konsep konotasi dan denotasi oleh Roland Barthes, artikel ini menunjukan bahwa kampanye YCBA menggambarkan keambiguitasan pada pemberdayaan perempuan, yang merupakan target utama pemasaran Barbie, dan kampanye ini juga menekankan bahwa perempuan masih membutuhkan kesetaraan di tempat kerja mereka maupun karir lainnya. Selain itu, artikel ini juga menemukan beberapa hal dalam kampanye Barbie yang menunjukan bahwa terkadang para perempuan tetap dipandang rendah dan masih didominasi oleh nilai-nilai patriakal.

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The famous Barbie doll stereotypically being seen with negativity due to its unrealistic beauty standard and appearance. Therefore, Mattel created a new campaign, “You Can Be Anything”, to encourage young girls to have big dream and be whatever they want to be. One of the ways in which this campaign is being disseminated is by uploading the videos on the company’s YouTube channel. This article explores how the color pink is not only utilized as a signifier of femininity but also carries a message of empowerment. This eventually leads to an ambiguous interpretation of the campaign’s mission. Combining an analysis on how female empowerment works in this campaign through the depiction of female mentorship program and the concept offered by Roland Barthes on the level of connotation and denotation, the findings show that this YCBA campaign ambiguously portrays empowerment for young girls, which are the target markets of Barbie, and emphasizes on how girls are still in need of equality in the work place or any careers in general. However, there are still moments of disempowerment in which the campaign affirms to the dominant patriarchal values."

"Penelitian ini membahas tentang penggambaran sosok Hāritī dalam bentuk arca maupun relief yang ditinjau dari ikonografi. Data penelitian merupakan relief Hāritī Candi Mendut dan Candi Banyunibo, Jawa Tengah serta arca Hāritī koleksi Museum Nasional Jakarta, Pusat Informasi Majapahit Trowulan Jawa Timur; Goa Gadjah, Pura Penataran Panglan dan Candi Dasa Bali. Penelitian dilakukan dengan tujuan untuk menguraikan persamaan dan perbedaan penggambaran Hāritī serta penyebab terjadinya variasi yang ada terkait dengan femininitas pada masyarakat Jawa Kuno dan Bali Kuno. Kesimpulannya penggambaran Hāritī terkait erat dengan peran dan kedudukannya sebagai dewi minor kesuburan dan pelindung anak serta mencerminkan peran dan kedudukan perempuan secara umum pada masa itu.

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This research talk about the presentment of Hāritī?s figure in statue and relief reviewed from iconography perspective. The research data are Hāritī relief from Mendut and Banyunibo Temple, Central Java, along with Hāritī statue from Jakarta National Museum collection, Centre for Majapahit Information Trowulan East Java; Gadjah Cave, Penataran Panglan Temple and Candi Dasa Bali. The aim of this research is to explain the equation and differences between Hāritī presentment and also the reason of variation indicated from its presentment related to Hāritī role and position which reflect female role and position generally from that period."

"ABSTRAKSkripsi ini membahas keselarasan gender yang direpresentasikan oleh tokoh-tokohdalam manga Otomen. Dengan menggunakan konsep gender secara umum danteori pencairan gender Judith Butler, penulis mengkaji manga ini dengan metodeanalisis isi dan analisis naratif yang kemudian dikaitkan dengan teori analisismanga. Hasil analisis menunjukkan terjadinya pergeseran pada gambaranstereotip maskulin dan feminin dan masing-masing tokoh memiliki identitaskedua gender tersebut. Manga ini menunjukkan bahwa baik seks dan genderbukanlah hal yang bisa dikotak-kotakkan, melainkan sebuah hal yang cair. Lebihlanjut, manga ini juga menawarkan suatu alternatif maskulinitas dan feminitas disamping maskulinitas dan feminitas tradisional.

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ABSTRACTThis thesis explains about harmony of gender which is represented by charactersin Otomen manga. By using a general view of gender and Judith Butler?s genderfluidity, writer analyzes this manga with content analysis and narrative analysismethod which will be connected with manga analyzing theory. The result of theanalysis shows that there is a shift in masculine and feminine stereotypes and eachcharacter has identity of both genders. This manga shows that both sex and genderare more like a fluid. Furthermore, this manga offer an alternative masculinity andfemininity beside the traditional view of masculinity and femininity."

"ABSTRAKSkripsi ini membahas representasi femininitas dalam anime Gake no Ue no Ponyo karya Hayao Miyazaki. Penelitian ini bertujuan untuk menganalisis konstruksi imaji femininitas dalam anime tersebut. Metode analisis dalam skripsi ini menggunakan pendekatan semiotika Rolland Barthes. Pembahasan dalam skripsi ini menggunakan teori Dorothy Smith dalam bukunya Text, Fact, and Femininity (1990). Hasil penelitian ini menunjukkan bahwa representasi femininitas dalam anime Gake no Ue no Ponyo bertentangan dengan representasi femininitas umumnya ada dalam budaya patriarki, ditampilkan dalam bentuk femininitas yang bernegosiasi yaitu strategic femininity.

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ABSTRACTThis study focused on representation of femininity which is contained in Hayao Miyazaki?s anime Gake no Ue no Ponyo. The purposed of this study is to analyze the construction image of femininity that is shown in the anime. The analysis method of this study uses Rolland Barthes semiotic approached. The discussion in this study uses the theory from Dorothy Smith in her book, Text, Fact, and Femininity (1990). The result of this research showed that the representation of femininity in Gake no Ue no Ponyo anime as a contrary to the representations of femininity known in patriarchal culture, showed by the negotiation in femininity namely strategic femininity."