17 research outputs found
Code mixing used in Naning Pranotos Novel Mumi Beraroma Minyak Wangi
No full textABSTRACT
Code is a part of linguistics, which is important to study, as many people use code mixing in their speaking to make intimacy and solidarity. The phenomenon of code mixing does not only happen in oral conversation but also in written conversation. The example of code mixing in oral conversation is the languages that are used by the presenters in music program to communicate with the audiences. While, written code mixing could be found in literary work, magazine and newspaper. Naning Pranoto as an Indonesian novelist also uses code mixing in her novel.
Related to the phenomenon above, this research aims to answer two following questions; the first is what are the characteristics of code mixing used in Naning Pranoto’s novel ،‘Mumi Beraroma Minyak Wangi”, and second is what factors affect the use of code mixing used in Naning Pranoto’s novel “Mumi Beraroma Minyak Wangi”. The researcher limits this research only on sentences in the novel having characteristics of code mixing.
This research is a descriptive qualitative research. The data source of this study is all sentences in the form of written dialogue, monologue and expression, which have code mixing. While, the data of this study are collected from the novel “Mumi Beraroma Minyak Wangi” written by Naning Pranoto. The research instruments are the writer herself as the main instrument and another instrument is interview in depth with the author “Naning Pranoto”. The steps she collected data are by reading and understanding the hovel, picking up the data from the novel dealing with the problems, rechecking and interviewing the author and classifying the data according to the main problems. To analyze the data, she presented the data, interpreted the data, evaluated and drew the conclusion. To corroborate the data, triangulation of investigator triangulation is used in this study.
Based on the data presentation and discussion, it is concluded that there is three characteristics of code mixing that are used by the author in novel “Mumi Beraroma Minyak Wangi”. They are in the form of words, phrase and clauses. In her novel, the author also mixes sentences in many languages. They are Indonesian language, Sundanese language, Javanese language, English language and Jakarta dialect. Further, the use of code mixing in this novel are affected by many factors, they are setting, participants, situation and the purposes. In addition, another factors that affect the use of code mixing in this novel are internal and external factors. Internal factor deals with the author background. While, external factor deals with the background of each character in the story
MODEL PEMBELAJARAN TEAM ASSISTED INDIVIDUALIZATION BERBASIS ASSESSMENT FOR LEARNING PADA PERSAMAAN GARIS LURUS DITINJAU DARI KARAKTERISTIK CARA BERPIKIR
No full textThe aims of this research are to find out the different effect of each categories of cooperative learning model, characteristics of mind style and their interaction towards students mathematics learning results on equation of straight line. The research used to quasi experimental with 2x4 factorial design. The population was all of the students in Grade VIII of the State Junior High Schools of the district Pringsewu in academic year 2013-2014. The samples of the research were taken by stratified cluster random sampling technique. Based on hypothesis test, it can be conclude that: 1) the cooperative learning model of TAI type on the basis of the AfL gives a better mathematics learning results than TAI type; 2) the mathematics learning result of student abstract sequential (AS) type have a better than student concrete sequential (CS) type, student concrete random (CR) type, and student abstract random (AR) type; whereas student CS type have the same result of student CR type and student AR type; 3) at each of characteristics of mind style students (CS, AS, CR. and AR), the cooperative learning model of TAI type on the basis of the AfL gives a better mathematics learning results than TAI type.
Keywords: Team Assisted Individualization (TAI), Assessment for Learning (AfL),
The Characteristics of Mind Style, Learning Result in Mathematitcs
REPRESENTASI IDEOLOGI PATRIARKI DALAM NOVEL SEKUNTUM RUH DALAM MERAH KARYA NANING PRANOTO : Kritik Sastra Feminis
No full textKarya sastra pada dasarnya merupakan cerminan dari kenyataan, termasuk kenyataan sosial. Pengarang karya sastra banyak mengangkat kenyataan sosial berupa gambaran kehidupan masyarakat ke dalam karyanya termasuk gambaran sosial tentang ideologi patriarki. Ideologi patriarki telah mendarah daging pada masyarakat Indonesia yang memiliki bermacam-macam suku dan budaya. Hal tersebut mengakibatkan perempuan berada di wilayah domestisitas. Berdasarkan hal tersebut, maka penelitian ini dimaksudkan untuk mengungkap bagaimana keyataan sosial tersebut direpresentasikan oleh pengarang dalam karya sastra. Objek penelitian ini adalah karya sastra Indonesia berupa novel dengan judul Sekuntum Ruh dalam Merah karya Naning Pranoto. Peneliti membatasi dan merumuskan penelitian untuk mencari jawaban mengenai: 1) struktur intrinsik dan ekstrinsik yang membangun novel; 2) representasi ideologi patriarki yang digambarkan dalam novel; dan 3) model representasi yang digunakan dalam novel tersebut. Penelitian ini merupakan penelitian kualitatif yang menggunakan metode deskriptif analisis dengan cara mendeskripsikan fakta-fakta yang kemudian disusul dengan analisis. Teknik pengumpulan data yang digunakan melalui studi pustaka dengan mencari data-data tentang struktur pembangun novel, makna representasi dan ideologi patriarki yang sesuai dengan objek penelitian. Pendekatan penelitian yang digunakan adalah pendekatan sosiologis, yaitu sosiologi sastra dengan menggunakan teknik representasi, dan teori yang digunakan ialah teori kritik sastra feminis yakni gerakan kesetaraan gender. Hasil penelitian menunjukkan struktur yang membangun novel Sekuntum Ruh dalam Merah terbagi atas struktur intrinsik dan ekstrinsik. Novel ini juga menunjukkan bahwa adanya representasi ideologi patriarki dalam penyifatan perempuan, peran perempuan, dan adanya ketidakadilan oleh sebab ideologi patriarki. Ideologi patriarki juga tampak pada alur novel, latar sosial novel, tema yang diangkat pengarang dalam novel, dan bahasa yang digunakan pengarang. Ideologi patriarki tersebut ada yang merepresentasikan kenyataan sosial di masyarakat Indonesia. Hubungan representasi ideologi patriarki dengan persoalan sosial adalah hubungan sebab akibat. Gambaran persoalan sosial dalam novel tersebut menjadi representasi dari masalah sosial yang dialami masyarakat Indonesia. Model representasi yang digunakan adalah model aktif sehingga dalam merepresentasikan ideologi patriarki dan permasalahan sosial, terdapat kritikan terhadap kenyataan yang digambarkan.
Literature basically are reflection of reality, including social reality. Many literature works made by the authors brought social reality. Those social reality they wrote includes social image of patriarchy ideology. This ideology has been ingrained upon Indonesian society, even though they’re came from different races and culture. The impact of this ideology is that women is consider to only part of “domestisitas” area. This research made is because of that background. This research will try to unveil how the social reality mentioned above represented by the author on his/her literature work. The object of this research are Indonesia Literature Work, a Novel with the title of Sekuntum Ruh dalam Merah by Naning Pranoto. The boundaries and formula made by the researcher are limited only to find the answer of: 1) intrinsic and extrinsic that build the novel; 2) patriarchy ideology represented on the novel; and 3) represent model used on the novel. This research is a qualitative research using descriptive analyst method by describe the fact which then continue with the analysis. Data collection technique used are find through book study by searching on data of novel structures, representation meaning and the perfect patriarchy ideology which match with the researcher object. Research approach used here is sociology approach, which is literature sociology using represent technique, and theory used here is feminist literature critique of gender equality. The research outcome shows the structure that build Sekuntum Ruh dalam Merah novel are divided into: intrinsic and extrinsic structure. This novel also shows the ideology patriarchy representation on the attribution of women, women role, and of the injustice as the result of the patriarchy ideology. Patriarchy ideology also shown on the novel plot, novel social background, theme brought by the author on the novel, and the language used by the author. Some of these patriarchy ideologies are represented social reality on Indonesian society. The conection between patriarchy ideologies with social problems are cause and effect. Social problems images shown on the novel are the representation of social problem face by the Indonesian society. Representation model used here are active model that on representation of patriarchy ideology and social problems, there are still critique to the reality shown
フェルロイルシーオーエーロクダッシュヒドロキシラーゼイデンシノカジョウハツゲンガイデンシクミカエポプラノリグニンセイゴウセイトモクザイトクセイニオヨボスエイキョウ
No full text東京農工大学Tokyo University of Agriculture and Technology博士（農学）Doctor of Philosophy (Agriculture
Aggression Depicted in Suzanne Collins’ The Hunger Games
No full textAggression Depicted in Suzanne Collins’ The Hunger Games
NaningChoirunNisa
English Department, Faculty of Languages and Arts, State University of Surabaya
[email protected]
Prof. Dr. FD Kurnia, M.Pd.
English Department, Faculty of Languages and Arts, State University of Surabaya
Abstrak
Studiinimembahastentangagresi yang dilakukanolehparapesertaThe Hunger Games, merekaadalahKatniss, Peeta, Cato, Clove, Glimmer, dan Thresh. Agresitelahmenjaditopikutamadidalam novel yang diterbitkantahun 2008 ini.Olehkarenaitu, studiinimembahasduapermasalahan, yakni (1) bagaimanaagresidigambarkan di The Hunger Gameskarya Suzanne Collins, dan (2) mengapaagresiterjadisebagaimanasepertiyang digambarkan di The Hunger Games karyaSuzanne Collins. Data daristudiinidiambildari novel sebagaisumberutamadanjugamembacasecaraintensifsebagailangkahselanjutnyauntukanalisis.Studiinimenggunakankonsepagresidaribeberapaahlidankonsepdeath instinctdari Sigmund Freud.Untukmenyelesaikanrumusanmasalahpertama, studiinimenggunakankonsepagresiuntukmendiskripsikanbagaimanaagresidilakukanolehparapeserta di dalamThe Hunger Games.Kemudianrumusanmasalahkeduadiselesaikanmenggunakanpendekatanpsikologiyakniteorideath instinctdanjugakonsepagresidari Anderson & Bushman untukmengungkapkanfaktorsituasidibaliktindakanagresiparapeserta.Terlebihlagi, penulismenggunakanpendekatanperpustakaan, analisis, danpenggambaran.Pendekatanperpustakaandigunakanuntukmencari datayang kemudiandianalisisberdasarkanteori yang ada.Penggambarandigunakanuntukmenjelaskanhasildarianalisis.Setelahmelaluianalisis yang panjangdenganmenggunakantigametodetersebut, makadapatdigambarkandenganjelasagresi yang dilakukanolehparapeserta, yakniKatniss, Clove, Cato, Peeta, Glimmer, dan Thresh.Hampirsemuatindakanagresimerekadipengaruhiolehdeath instinct, tindakanyang mengarahkepembinasahan, dantindakanagresikarenafaktorsituasi, sepertiisyaratagresi, provokasi, frustrasi, perasaansakitdantidaknyaman, obat-obatan, sertadorongan.
Kata kunci :Agresi; kekerasan; death instinct; danfaktorsituasi.
Abstract
This paper deals with aggression done by the tributes of the hunger games, they are Katniss, Peeta, Cato, Clove, Glimmer, and Thresh. Aggression has become the main topic of this novel since it was published in 2008. Thus this study focuses on two major problems, (1) how is aggression depicted in Suzanne Collins’ The Hunger Games, and (2) why is aggression happened as depicted in Suzanne Collins’ The Hunger Games. The data of the thesis is taken from the novel as the main source and intensive reading to next step of analysis. The concept that will be used includes the concept of aggression by several experts and death instinct by Sigmund Freud. To answer the first problem, this study is using the concept of aggression to depict the aggression that is done by the tributes in the hunger games. Then the second problem is answered by using psychological approach of death instinct theory and the concept of aggression by Anderson & Bushman to reveal the situational factors behind their aggressions. Moreover, the writer used library research, analysis and description. Library research is used to college data needed. An analysis is used to analyze the collected data based on the theories. Description is used to describe the result of analysis. After getting through long analysis by using three kinds of method above, it can reveal the depiction of aggression that is done by the tributes, Katniss, Clove, Cato, Peeta, Glimmer, and Thresh and most of their factors to do aggression is following their death instinct to destruction and aggression because of the situational factors, such as aggressive cues, provocation, frustration, pain and discomfort, drugs, and incentives.
Keywords: aggression; violence; death instinct; and situational factors.
INTRODUCTION:
One of the main concern that has been increased nowadays is the issue of violence. Violence must be close related with aggression. As the World Health Organisation (1996) defines violence as an action that used the intentional of physical power, threatened or actual, against oneself, another person, or against a group or comunity that has results of harm. Anderson et al. (2002:29) state that violence is aggression whose goal is serious and extreme harm, i.e. death. All violence can be defined as aggression. However aggression is not always violent,i.e., a dentist intentionally gives a patient a shot of Novocain (it might be hurt), but the goal is to help rather than hurt the patient.
In social psychology, the term of aggression is generally defined as any behavior that is intended to harm others who does not want to be harmed. Aggression is an external behavior that can be seen. i.e., a person shoots, hits, slaps, or threats someone. Aggression is a social behavior. It involves at least two people. In addition, aggression is intended to hurt, it is not happened accidental. Hence, an extreme and serious aggression may lead to violence.
Aggression on violence has been a serious problem over the past decades. It can take several forms; physical aggression, verbal aggression, and relational aggression. Moeller (2001:25) defines physical aggression as actual physical activities that is intentionally intended to harm another person, animal, or object. i.e., hitting, pinching, hair-pulling, arm-twisting, strangling, burning, stabbing, punching, pushing, slapping, beating, shoving, kicking, choking, biting, force-feeding, threats with a weapon or object, any other rough treatment, or even murder.Verbal aggression involves the use of words to harm another persons,i.e.,teasing andthreatening (Moeller, 2001:25). Crick et al. cited in Moeller (2001:25) define relational aggression as “behaviors that harm others through damage (or the threat of damage) to relationships or feelings of acceptance, friendship, or group inclusion”. Whereas relational aggression, Crick &Grotpeter (1995) state that it is a behavior that is intended to hurt someone by harming their relationships with others.
Furthermore, aggression on violence has portrayed in literature, i.e., in the novel. Novel deals imaginatively with human experience. Novel is a genre of fiction, and fiction may be defined as the art through the written word, representations of human life that instruct or divert or both(http://global.britannica.com/EBchecked/topic/421071/novel).
One of the American author deals with the theme of aggression and violence in its works is Suzanne Collins. She is the author of several novels for younger readers. Collins, a 48-year-old mother of two children, began her writing career in television. Collins spent the 1990s writing kids’ shows for Nickelodeon, including Clarissa Explains It All (1993) and The Mystery Files of Shelby Woo (1997-98). She has also written for pre-school viewers on programs like Little Bear (1995-2003) and Oswald (2001-2008). Few other famous works of Collins includes her book Fire Proof: Shelby Woo (1999). When Charlie McButton Lost Power (2005) and When Charlie McButton Gained Power (2009).
Then Collins switched to writing novels for young readers, and between 2003 until 2007 published five novels in The Underland Chronicles series: Gregor the Overlander (2003); Gregor and the Prophecy of Bane (2004); Gregor and the Curse of the Warmbloods (2005); Gregor and the Marks of Secret (2006); and Gregor and the Code of Claw (2007).
In the same way, between 2008 until 2010 she published the other Series under the name The Hunger Games trilogy. These three books were The Hunger Games (2008); Catching Fire (2009); and Mockingjay (2010). Overall the series of The Hunger Games has been a great success, they are sold in more than 50 million print and electronic copies. The Hunger Games book has made a film version released in 2012 and for the second book Catching Fire in 2013.
In addition, TheHunger Games novels have made Collins extremely popular amongst readers, and led her to be named one of Time Magazine’s Top 100 people in 2010, The New York Times Bestseller, 2009-10; Publishers Weekly Best Book of the Year, 2008; American Library Association (ALA) Best Book for Young Adults, 2009; and others. The Hunger Games has spent more than 260 consecutive weeks or more than five consecutive years to date on The New York Times bestseller list since publication in September 2008, and has also appeared consistently on USA Today and Publishers Weekly bestseller lists. It has been sold into 56 territories in 51 languages. However, some critics still appreciate the novel.
“I was so obsessed with this book … The Hunger Games is amazing.” --- Stephanie Meyer. (http://www.thehungergames.co.uk/press_and_reviews)
Hence this paper will discuss aggression in the hunger games based on Suzanne Collins’ first trilogy The Hunger Games where she reveals an outsize imagination for suffering and brutality in the post-apocalyptic nation of Panem, formerly known as North America. In Panem, the hunger games are an annual game which one boy and one girl between the ages of 12 to 18 years from their respective districts around the Capitol compete in a deadly battle until only one winner remaining. The winner will be famous and given prosperous life.
The Hunger Games much presents on aggression that leads to violence. As Dewall et al. (2011:2) argue that violence is any aggressive behavior which is aimed to make harm physicaly, such as injury or death. Hence, theory of death instinct (thanatos) by Sigmund Freud and concept of aggression by Anderson & Bushman have developed to explain the reason of the tributes (Katniss, Peeta, Cato, Clove, Glimmer, and Thresh) doing aggression and violence acts. Thus, this study will discuss deeper aboutwhy people develop behaviors intended to hurt others as seen in The Hunger Games.
Theoritical Framework
Toassistandstrengthenthe datatobe analyzed, it willusea concept of aggression by several experts. To analyze the reasons that influence aggression, it will be explained frompsychological perspective (death instinct) by Sigmund Freud adds with concept of aggression by Anderson & Bushman.
Based on the background of the study above, the questions below will be answered.
How is aggression depicted in Suzanne Collins’ The Hunger Games?
Why does aggression happen as depicted in Suzanne Collins’ The Hunger Games?
Data Collection
The data collection is taken from the novel The Hunger Games including the quotations, phrases, dialogues, or monologues in which reveal thought, speech, action, and attitude that reflects the idea of aggression.
Limitation of the Study
This study is limited and focused on aggression as depictedin Suzanne Collins’ The Hunger Games.The subject of this aggression is the tributes of The Hunger Games. They are KatnissEverdeen, Peeta, Cato, Clove, Glimmer, and Thresh. Thus, the focus on this study is the tributes of the hunger games who have done much aggression to hurt and harm others. The actions of the tributes of The Hunger Games in form of quotations, phrase, dialogues, or monologues in the novel that reveal as aggression, are taken as the data.
Procedure of Analysis
There were some steps taken in conducting this study. The first step is close reading of the novel to determine the major issue of it. The major issues are collected and proposed into a topic of the study by seeing the conflict, the monologue, the dialogue in the novel. After the topic is already decided, it is tried to figure out what should be analyzed with the topic. Thus it is collected two statements of problems. They are the depiction of aggressionand the factors that influence aggression in The Hunger Games. The next step is searching related information about concept of the topic and to figure it out, it is used a concept of aggression and a theory of death instinct (thanatos) by Sigmund Freud adding with concept of aggression by Anderson & Bushman. The synchronization of analysis and related concept was arranged to get the conclusion.
RESULT
Concept of Aggression
In essence, aggression is an action that harms person or object (Moeller, 2001:2). Bartol cited in Moeller (2001:24) defines aggression as behaviors intended intentionally to harm another person physically or psychologically or to destroy or to take that person’s property. In additional, The Collins Concise Dictionary also defines aggression as “an attack, a harmful action, an offensive activity, a hostile, or destructive mental attitude.” (Harding, 2006:3). Aggression can start from the “low-level” acts, such as being impolite, making minor threats, and violating minor rules that are generally annoying acts. (Moeller 2001:22)
Bartol et al. cited in Moeller (2001:25) state that aggression can also be hostile, instrumental, or reactive. Hostilehas the main purpose to harm or suffer the victim.Hostile aggression is driven byarousal, impulsivity, and immediate to situationalprovocation. It may be closer to the kinds of aggressionidentified by instinct theories. It includes irritableaggression.Instrumental aggression refers to unprovoked aggression used more force to get nonaggressive actions from the victim. Instrumental aggression is a learned response where aggression is a mechanism forachieving certain goals.In this mode aggression is just another way of gettingwhat you want or avoiding being criticised by authorityor gaining normal awards. i.e., a child beats another child to take some money (Bartol et al. cited in Moeller, 2001:25). In essence, instrumental aggression is not commonly followed by emotional feeling. It is just used as a way to get something else. Instrumental aggression involves defensive action, fight to get authority or want to dominate others.Whereas reactive aggression called as provoked aggression. It refers to an angry acts in response to some provokating environmental event or behaviors (Bartol et al. cited in Moeller, 2001:25).
According to Pawlik et al. (2000:195) state that aggression that is used to survive depends on the individual organisms securing environmental resources. i.e., water as resources is freely available in humid country, so it does not need to fight to get it. The predatory species always hunt to get the food, on the contrary the prey (food) may resist themselves. Both predators and prey may engage in aggressive attack and defensive actions in this case. Furthermore, in his term of “intra-specific interactions”, Pawlik et al. explain that as individuals of the same species often have to compete for resources such as food or shelter. In one hand, in intra-specific antagonism aggression may occur in competition for social resources, i.e., mating partners or alienating.
Characteristics of Aggression
From some explanation of aggression above can be concluded the characteristics of aggression are:
Aggression is aimed to hurt, to harm or to destroy others.
Aggression is a release action of frustration, anger, or bad feeling.
Types of Aggression
Physical aggression
Moeller (2001:25) defines phisical aggression as actual phisical activities that is intentionally intended to harm another person, animal, or object. i.e., hitting, pinching, hair-pulling, arm-twisting, strangling, burning, stabbing, punching, pushing, slapping, beating, shoving, kicking, choking, biting, force-feeding, threats with a weapon or object, any other rough treatment, or even murder.
Verbal aggression
Verbal aggression involves the use of words to harm another persons for such as teasing andthreatening. (Moeller, 2001:25)
Verbal aggression includes acts such as insulting with bad language, displaying anger, threatening, swearing and being sarcastic all in order to cause emotional and psychological pain (Sameer &Jamia 2007), while National Youth Violence Prevention Research Centre (2002) state that verbal aggression includes such behaviors as threatening, intimidating others and engaging in malicious teasing and name-calling. (Onukwufor, J., 2013:64)
Teasing is one of the type of verbal aggression. Teasing can be “playful” or “hurtful”. According to Dess, J. et al. (2011:2) state that teasing can be “playful” when; (1) teasing is used when we are talking with friends and everyone involves in the teasing, it is called as ‘teasing pie’, (2) teasing isn’t aimed to hurt, (3) teasing is done by closed friends, and (4) teasing is repeated again. However, teasing can be “hurtful” when; (1) teasing tends to direct into one person in a group, (2) teasing is sometimes repeated, (3) teasing is done by someone whom we do not recognize, (4) it is used to make fun of someone who having disability.
Relational aggression
Crick et al. cited in Moeller (2001:25) define relational aggression as “behaviors that harm others through damage (or the threat of damage) to relationships or feelings of acceptance, friendship, or group inclusion.” Crick &Grotpeter (1995) also agree that relational aggression is behavior that is intended to hurt someone by harming their relationships with others.(http://www.hopehouseonline.org/pages/gorls.shtml, 2010-2011)
Little, Jones, Henrich, & Hawley cited in Young E. (2010:2) categorize relational aggression into two parts; reactive relational aggression and instrumental relational aggression. Reactive relational aggression is used to respond to provocation. People used this aggression by manipulating social issues, such as spreading rumors, as a response to feeling threatened or angry. Whereas instrumental relational aggression is “manipulating relationships or using aggression to get what one wants.”
The Relationship between Aggression and Violence
Anderson, C., &Huesmann, L. cited in Hogg & Cooper (2003:298) state that aggression is any behavior that is intended to harm directed toward others. Furthermore the agent of aggression will make sure that his aggression will harm the target. However, the target will automatically avoid the aggression as a defensive action.
Anderson, C.A., & Bushman B.J. (2002:29) state that violence is aggression that has extreme harm as its goal, i.e., death. Tolan and Guerra cited in Moller (2001:2) state that violence is “the most extreme and serious” form of aggression. Anderson et al. (2002:29) state that all violence can be defined as aggression. However, in some cases of aggression are not always violent. i.e., a child is pushing his friend’s tricycle is an act of aggression but is not an act of violence. To reach that serious and extreme goal, such as injury or even death, must be expressed into visible way, i.e., physical aggression. Thus aggression can lead to violence if it is happened on physical aggression. Because the goal of aggression that leads to violence is to hurt and to harm the target of aggression.
Moreover, Anderson, C., &Huesmann, L. cited in Hogg & Cooper (2003:298) also agree that “violence is physical aggression at the extremely high end of the aggression continuum, such as murder and aggravated assault.” Harding (2006:4) adds that aggression is the easiest to recognize in violence. She calls it as “the rawest manifestation being ‘destructive motor action’.” In addition, The World Health Organisation (1996) also defines violence as an action that used the intentional of physical power, threatened or actual, against oneself, another person, or against a group or comunity that has results of harm or even death.
Hence, in social psychology, violence is aggression that has extreme physical harm as its goal, such as injury or death. One child intentionally pushing another child down is an act of aggression but it is not an act of violence. One person intentionally hitting, kicking, shooting, or stabbing another person is an act of violence. Thus, violence is a subset of aggression. All violent acts are aggressive, but not all aggressive acts are violent (only the ones that are intended to cause extreme physical damage are called violent).
Factors Influencing Aggression
Drives
Drive derived from a German word Trieb which refers to a stimulus within person. This word is generally understood as instinct, inborn patterns of behavior that are biologically determined rather than learned with its characteristics that are both physical (bodily needs) and psychological (wishes). Drives operate as a constant motivational force. Freud proposed that drives consists of two parts; sex (eros) and aggression (thanatos). (Feist, 2008:31)
Death Instinct
Death Instinct is the concept made by a psychoanalist, Sigmund Freud. Thomas cited in Moeller (2001:26) states that Freud assumes that human born with a drive, called the Thanatos. To Allen (2006:24), thanatos is the instinct toward destructiveness and death which is aimed at returning living things to their original lifeless state. Freud stated in Li (2011:116) defines thanatos as “an urge inherent in organic life to restore an earlier state of things”. Thanatos might be directed toward the self that is resulting in self-injury or even death, it can be also directed toward others that is resulting in aggression.
The instinct theory of aggression derives mainly from two sources: psychoanalysis and ethology. According to psychoanalytic theo
SUBALTERNITAS PEREMPUAN TIONGHOA DALAM NOVEL MEI MERAH 1998: KALA ARWAH BERKISAH
No full textThis study aims to examine the subject of women in colonial discourse by natives through the novel Mei Merah 1998: Kala Arwah Berkisah. To achieve this goal, descriptive qualitative is used as a research method. The data source is the novel Mei Merah 1998: Kala Arwah Berkisah (2018) by Naning Pranoto and all information related to the research topic. The research data ranges from language and sentences to thoughts in the text of the novel which contains narratives of female subjects who experience oppression and other related data. Data collection techniques are done by reading and taking notes. This research shows that Chinese women in Indonesia are in a subaltern position in the societal hierarchy. These women experienced double oppression, from their identity as Chinese under native domination and from their position as women under male domination. The events of May 1998 were proof of colonialism against ethnic Chinese women. The voice of the silenced minority group is attempted by the author to construct through the narration of the female subject in the novel. These Chinese females in this narrative experience ambivalence and mimicry as a way of resisting colonial discourse from the dominating natives.This study aims to examine the subject of women in colonial discourse by natives through the novel Mei Merah 1998: Kala Arwah Berkisah. To achieve this goal, descriptive qualitative is used as a research method. The data source is the novel Mei Merah 1998: Kala Arwah Berkisah (2018) by Naning Pranoto and all information related to the research topic. The research data ranges from language and sentences to thoughts in the text of the novel which contains narratives of female subjects who experience oppression and other related data. Data collection techniques are done by reading and taking notes. This research shows that Chinese women in Indonesia are in a subaltern position in the societal hierarchy. These women experienced double oppression, from their identity as Chinese under native domination and from their position as women under male domination. The events of May 1998 were proof of colonialism against ethnic Chinese women. The voice of the silenced minority group is attempted by the author to construct through the narration of the female subject in the novel. These Chinese females in this narrative experience ambivalence and mimicry as a way of resisting colonial discourse from the dominating natives.Penelitian ini bertujuan untuk mengkaji suara subjek perempuan Tionghoa dalam wacana kolonial oleh pribumi dalam peristiwa 1998 yang direpresentasikan dalam Novel Mei Merah 1998: Kala Arwah Berkisah. Metode penelitian yang digunakan dalam mengkaji topik tersebut adalah metode deskriptif kualitatif. Sumber data penelitian adalah novel Mei Merah 1998: Kala Arwah Berkisah (2018) karya Naning Pranoto dan segala informasi yang terkait dengan topik penelitian. Data penelitian berupa bahasa dan kalimat hingga pemikiran dalam teks novel yang memuat narasi subjek perempuan yang mengalami penindasan dan data terkait lainnya. Sementara itu, teknik pengumpulan data dilakukan dengan membaca dan mencatat. Penelitian ini menunjukkan bahwa perempuan Tionghoa di Indonesia berada pada posisi subaltern dalam hirarki masyarakat. Para perempuan ini mengalami penindasan ganda, dari identitasnya sebagai Tionghoa di bawah dominasi pribumi dan dari posisinya sebagai perempuan di bawah dominasi laki-laki. Peristiwa Mei 1998 menjadi bukti atas terjadinya penjajahan terhadap perempuan Tionghoa. Suara kelompok minoritas yang terbungkam ini berusaha dikontruksi oleh pengarang melalui narasi subjek perempuan dalam novel. Perempuan Tionghoa dalam narasi ini mengalami ambivalensi dan mimikri sebagai salah satu cara dalam melakukan resistensi terhadap wacana kolonial dari pribumi yang dominan
Ocellarnaca fuscotessellata
No full text<i>Ocellarnaca fuscotessellata</i> (Karny, 1926) <p>Figure 33C–D</p> <p> <b>Material examined.</b> 1 male and 2 females, Mao’ershan, Xing’an, Guangxi, August 17, 2020, coll. by Jing Liu; 1 male, Mao’ershan, Xing’an, Guangxi, July 9, 2021, coll. by Chaomei Huang; 1 male, Damingshan, Guangxi, July 7, 2021, coll. by Dongdong Yang; 3 males and 1 female, Yangmeiao, Jiuwanshan, Guangxi, August 4, 2021, coll. by Jiali Chen; 1 male and 1 female, Yangmeiao, Jiuwanshan, Guangxi, August 5, 2021, coll. by Xiaoyu Peng; 1 female, Yangmeiao, Jiuwanshan, Guangxi, August 6, 2021, coll. by Wei Bin; 2 males, Yangmeiao, Jiuwanshan, Guangxi, August 16, 2021, coll. by Wei Bin; 1 female, Baidan, Mulun, Guangxi, July 5, 2022, coll. by Jing Liu; 2 males, Cujiang, Longsheng, Guangxi, July 17, 2022, coll. by Siyu Pang, Pinying Rong and Huan Meng; 1 male, Cujiang, Longsheng, Guangxi, July 18, 2022, coll. by Siyu Pang, Pinying Rong and Huan Meng; 3 males, Guadun, Wuyishan, Fujian, July 20, 2022, coll. by Yafei Wang; 3 females, Cujiang, Longsheng, Guangxi, July 20, 2022, coll. by Siyu Pang, Pinying Rong and Huan Meng; 1 male, Guadun, Wuyishan, Fujian, July 21, 2022, coll. by Yafei Wang; 1 male, Laomao, Guangxi, July 21, 2022, coll. by Siyu Pang, Pinying Rong and Huan Meng; 2 males and 1 female, Cujiang, Longsheng, Guangxi, July 22, 2022, coll. by Siyu Pang, Pinying Rong and Huan Meng; 1 male and 1 female, Hongtan, Huaping, Guangxi, July 24, 2022, coll. by Siyu Pang, Pinying Rong and Huan Meng; 2 males, Yinshan, Jinxiu, Guangxi, July 26, 2022, coll. by Qianwen Zhang and Shan Li; 1 female, Hongtan, Huaping, Guangxi, July 26, 2022, coll. by Siyu Pang, Pinying Rong and Huan Meng; 2 females, Darongshan, Beiliu, Guangxi, August 8, 2022, coll. by Qianwen Zhang and Shan Li.</p> <p> <b>Distribution.</b> Chongqing (Jinyunshan); Fujian (Jiangle, Wuyishan); Guangdong (Yingde); Guangxi (Fangchenggang, Hezhou, Lingui, Luocheng, Naning, Rongshui, Shanglin, Wuming, Xing’an, Yizhou); Guizhou (Cishui, Rongjiang); Hunan (Daoxian, Mangshan, Ningyuan); Jiangxi (Jinggangshan, Yichun); Sichuan (Emeishan); Yunnan (Lincang).</p>Published as part of <i>ZHANG, QIANWEN, PANG, SIYU, RONG, PINYING & BIAN, XUN, 2023, Contribution to the knowledge of Chinese Gryllacrididae (Orthoptera) XIII Review the genus Ocellarnaca Gorochov, 2004, pp. 305-332 in Zootaxa 5230 (3)</i> on pages 328-329, DOI: 10.11646/zootaxa.5230.3.3, <a href="http://zenodo.org/record/7561247">http://zenodo.org/record/7561247</a>
STRUKTUR INTRINSIK DAN IDEOLOGI GENDER DALAM CERPEN INDONESIA PENGARANG PEREMPUAN DEKADE 1970-2000-AN SEBAGAI ALTERNATIF BAHAN PEMBELAJARAN BAHASA INDONESIA BERWAWASAN GENDER DI SMA
No full textPenelitian ini dilatarbelakangi dengan adanya ideologi gender dalam karya sastra Indonesia dalam hal ini cerpen, juga adanya kondisi pembelajaran sastra di sekolah yang nyaris diabaikan. Apalagi karya pengarang perempuan kurang diperkenalkan sehingga siswa tidak banyak mengenal karya-karya dan kiprah kaum perempuan dalam kesusastraan. Adapun rumusan masalah dalam penelitian ini adalah sebagai berikut: (1) Bagaimanakah struktur intrinsik cerpen-cerpen Indonesia yang berideologi gender karya pengarang perempuan dekade 1970-2000-an?; (2) Bagaimana ideologi gender yang terdapat dalam sepuluh cerpen Indonesia karya pengarang perempuan dekade 1970-2000-an tersebut?; (3) Apakah sepuluh cerpen tersebut dapat dijadikan bahan pembelajaran bahasa Indonesia berwawasan gender di Sekolah Menengah Atas? Tujuan penelitian ini adalah (1) mendeskripiskan struktur intrinsik cerpen-cerpen Indonesia yang berideologi gender karya pengarang perempuan dekade 1970-2000-an, (2) mendeskripsikan ideologi gender yang terdapat dalam sepuluh cerpen Indonesia karya pengarang perempuan dekade 1970-2000-an tersebut, (3) Untuk mengetahui pemanfaatan sepuluh cerpen karya pengarang perempuan dekade 1970-2000-an tersebut sebagai bahan pembelajaran bahasa Indonesia yang berwawasan gender di Sekolah Menengah Atas. Adapun metode penelitian yang digunakan pada penelitian ini adalah metode deskriptif analitik yang mengungkap keadaan yang sebenarnya dalam cerpen-cerpen Indonesia karya pengarang perempuan dekade 1970-2000-an.
Temuan penelitian ini adalah Pertama, cerpen pengarang perempuan ini memiliki struktur penceritaan yang logis dan kronologis. Tokoh utama yang ditampilkan semuanya perempuan dan karater yang memperjuangkan hak-haknya sebagai perempuan dan istri, ada juga tokoh yang menentang ketentuan adat Buton. Tema cerita adalah tentang kemelut hidup yang dihadapi oleh seorang perempuan dan istri. Kedua, ideologi gender yang terdapat dalam cerpen-cerpen Indonesia karya pengarang perempuan di atas dipengaruhi oleh empat ideologi gender, yaitu ideologi patriarki, ibuisme, familialisme, dan umum yang mengakibatkan adanya ketidakadilan gender, yaitu perempuan tersubordinasi, termarginalisasi, terdiskriminasi dan terepresi. Ideologi patriarki dan ideologi umum lebih banyak muncul yakni, 9 cerpen yang dianalisis yaitu, “Bajunya Sini” karya Ratna Indraswari, “Lais” karya Nenden Lilis, “Bukan Jalan Terbaik” karya La Rose, “Bunga dalam Gelas” karya Dorothea Rosa Herliany,“La Runduma” karya Waode Wulan Ratna, “Perempuan dari Sorento” karya Naning Pranoto, “Air Suci Sita” karya Leila S. Chudori, “Cerita Malam Pertama” karya Titis Basino, dan “Selubung Hitam” karya Titi Said. Sedangkan ideologi familialisme dan ideologi ibuisme hanya terdapat pada 6 cerpen yakni, “Bunga dalam Gelas” karya Dorothea Rosa Herliany, “Cerita Malam Pertama” karya Titis Basino, “Lais” karya Nenden Lilis, “Perempuan dari Sorento” karya Naning Pranoto, “Sagra” karya Oka Rusmini, dan “Selubung Hitam” karya Titi Said. Dari temuan penelitian, direkoumendasikan agar cerpen Indonesia pengarang perempuan dekade 1970-2000-an ini dijadikan sebagai alternatif bahan pembelajaran Bahasa dan Sastra Indonesia yang berwawasan gender di SMA.
This research is motivated by the ideology of gender in the works of Indonesian literature in this short story, as well as the existence of literary learning conditions in schools are almost negligible. Moreover, the work of women authors less introduced so that students do not know many of the works and progress of women in literature. The formulation of the problem in this study are as follows: (1) What is the intrinsic structure of the short stories of Indonesian gender ideology works of women writers 1970-2000 decade late ?; (2) How does gender ideology contained in the works of the author of ten short stories Indonesian women's decade 1970-2000 is ?; (3) Are the ten short stories can be used as learning materials insightful Indonesian gender in high school?
The purpose of this study were (1) the intrinsic structure mendeskripiskan short stories of Indonesian gender ideology of women's work writer's decade 1970-2000, (2) describe the ideology of gender in the works of the author of ten short stories Indonesian women's decade of 1970-2000, the (3) To examine the use of ten short story by the author of the women's decade 1970-2000 as the learning material-minded Indonesian gender in high school. The research methods used in this study is descriptive analytic method that reveals the real situation in the short story works of women authors Indonesia's 1970-2000 decade.
The study found some result. First, short story Indonesian women's decade of 1970-2000 daily have logic and chronologic stroy structure. The main character are displayed all female character and the fight for their rights as women and wifes, their is also a figure who oppose customary provision Buton. The theme is about the life crisis by a women and wife. Second, found that gender issues contained in the Indonesian short story author's work is influenced by the women in the top four of gender ideology, the ideology of patriarchy, Ibuism, familialisme, and the public that the existence of gender inequality, women are subordinated, marginalized, discriminated and repressed. Patriarchal ideology and ideology more generally appears that, nine stories were analyzed, namely, "Bajunya Sini" by Ratna Indraswari, "Lais" by Nenden Lilis, "Bukan Jalan Terbaik" by La Rose, "Bunga dalam Gelas" by Dorothea Rosa Herliany, "La Runduma" Waode Wulan Ratna work, "Perempuan dari Sorento" by Naning Pranoto, "Air Suci Sita" by Leila S. Chudori, "Cerita Malam Pertama" by Titis Basino, and "Black Veil" by Titi Said. The research finding, the authors recommended the short stories in Indonesian women’s decade of 1970-2000 to be alternative teaching materials Indonesian language and literary minded gender
Chinese Cinemas and Global Modernity
No full textThis trio presentation will situate the complexities of contemporary Chinese cinemas within the spaces of global capitalism. Our approaches resonate with each other as we explore recent Chinese films and their images of demolition, ruins, memory, women, and sexuality. With these investigations we have identified a rich repertoire of visual cultural responses to China’s unprecedented transformations within global modernity.
China’s traumatic history, removed from the burial ground of national myth and official culture, gains a new life in recent cultural commodities. The past cannot stay the same when its lifeblood depends upon the recasting of individual and collective memories in the global marketplace. Dr. Esther Yau will focus on the reworking of psychoanalysis and memory culture in Chinese transnational films by attending to the phenomenon of persistent sights and stories of trauma. The film titles include Yim Ho’s THE DAY THE SUN TURNED COLD (1994), Wang Xiaoshuai’s SHANGHAI DREAMS (2005), and Lu Chuan’s recent NANING NANJING (2009).
To follow up with the discussion of cultural memories, Dr. Esther Cheung will examine how an emergent structure of feeling, cast through lenses of realism as well as rooted in historicized sensibility and local knowledge, is associated with the on-going processes of destruction and construction in the Chinese cities. In the alienated space of global capitalism, images of demolition and ruins from Chinese cinemas hinge on the possibility of engaging with the changing world through an ethics and aesthetics of the personal and the authentic. Films for discussion include Fruit Chan’s LITTLE CHEUNG (1999) as well as Jia Zhangke’s XIAO WU (1998) and STILL LIFE (2006).
Dealing with the relation between gender and neo-liberalism, Dr. Gina Marchetti will discuss the ways in which images of Chinese women and their sexuality have changed in transnational Chinese screen culture since the People's Republic of China's admission to the WTO in 2001. As the dismantling of the socialist 'iron rice bowl' accelerates and China's inflated economy brings the booms and the busts of global capitalism to post-Mao China, filmmakers have responded to the way in which gender plays a role in these enormous political, economic, and social changes. Works to be considered include Ann Hui’s THE POSTMODERN LIFE OF MY AUNT (2006) and Ning Ying’s PERPETUAL MOTION (2005)
Peroral Endoscopic Myotomy for the Treatment of Achalasia in a Patient with Esophageal Varices. A Case Report
No full textAchalasia is very uncommon, and rarely does achalasia co-exist with esophageal varices. We present a 62-year-old woman who was diagnosed with both achalasia and esophageal varices in December 2014 and had a past history of hematemesis. The patient’s achalasia symptoms’ Eckardt score was 9, and her hepatic function was Child-Pugh grade A6. After comprehensive assessment of the patient’s health and discussion of the pros and cons of various therapies for achalasia, the patient underwent a peroral endoscopic myotomy. She was symptom-free after the operation and had no recurrence of achalasia symptoms at 20-month follow-up. No adverse events were reported. Peroral endoscopic myotomy for achalasia with esophageal varices has not been previously reported in the English literature.Abbreviations: BTI: Botulinum toxin injections; EUS: Endoscopic ultrasonography; GEJ: Gastroesophageal junction; HIFU: High-intensity focused ultrasound; LHM: Laparoscopic Heller myotomy; PD: Pneumatic dilation; POEM: Peroral endoscopic myotomy; TIPS: Transjugular intrahepatic portosystemic shunt.</jats:p
