Marriage Rejection: A Feminist Study in Katie Fforde's Going Dutch

This article aims to analyze the cultural representation of Banyuwangi in the Banyuwangi Ethno Carnival (BEC) using Stuart Hall's representation theory approach. The main concepts applied in this analysis are change and resistance, which are used to understand how cultural symbols are represented and interpreted in BEC. The data collection process was carried out through a literature study. Where the data obtained comes from the results of research and other people's scientific works that are studied and then developed. Data analysis was carried out by combining Stuart Hall's representation theory concepts with the findings found in the BEC program. The results of the analysis of the literature study show that BEC is an important vehicle for representing Banyuwangi's cultural identity through modifications of costumes, dances, music, and other performances. In addition, the media plays an important role in the spread and influence of these cultural representations. In the context of Stuart Hall's representation theory, change refers to the transformation of cultural symbols in BEC, while resistance describes the process of building cultural representations through interactions and agreements between BEC actors, government and society. Through this process, Banyuwangi's cultural identity is represented and interpreted in the BEC event. The implication of the results of this research is the need for continuous support in developing and promoting Banyuwangi culture through collaborative efforts between the government, cultural actors and the community. In this case, BEC can be an effective tool to strengthen and broaden understanding and appreciation of Banyuwangi's cultural identity

The Stuart Hall Project, directed by John Akomfrah, Smoking Dog Films/ BFI, 2013 At the end of an essay from 1981 Stuart Hall claimed that is 'one of the places where socialism might be constituted. That is why popular culture matters. Otherwise, to tell you the truth, I don't give a damn about it'. (1) I was reminded of Hall's words last week while listening to a radio programme marking fifty years of Cultural Studies (Bingo, Barbie and Barthes: 50 Years of Cultural Studies BBC, Radio 4, 2013). Along with various accounts of Cultural Studies' emergence and consolidation there was a sound bite from an interview with Hall; he was complaining that he couldn't bear to read yet another Cultural Studies interpretation of the US TV show The Sopranos--frankly, my dear, he just didn't give a damn. The radio programme had a strange atmosphere about it; it seemed to suggest--contra Hall--that the spirit of Cultural Studies had migrated into all sorts of places and that its mission was now complete. The logic seemed to suggest that now, when newspapers would dedicate many more column inches to a new Dizee Rascal CD than to any classical offering, a need for Cultural Studies had passed. Not so much a celebration of Cultural Studies, then, as a valediction, sending it off to the great paper shredder of history. A different feeling of Cultural Studies is offered in John Akomfrah's latest film The Stuart Hall Project. The title mimes a category used by Hall and others to insist that Cultural Studies wasn't going to be just another discipline, rather it would be a 'project'. We should take Akomfrah's use of the term 'project' in the title of his film as similarly embracing the unfinished, on-going, contingent and necessarily inadequate state of any 'study'; while also recognising a striving towards something unknown and, perhaps, as also actively encouraging contradiction and inconsistency. As if to make this condition clearer still Akomfrah titled the three-screen video installation portrait of Hall that preceded the film The Unfinished Conversation, which is both Hall's description of identity-work, while also being the condition of the artwork. So anyone looking to The Stuart Hall Project for a bio-pic or for a fully adequate representation of the intellectual odyssey of Hall will be disappointed. The film stays for the most part in the 1950s and '60s: so for those desiring the Stuart Hall who has done so much in recent years to establish a platform for multicultural visual arts in the shape of inIVA (the institute of International Visual Arts) will find little sign of him; if you are looking for the Hall who grappled with feminism and non-heterosexual identities in the 1980s and '90s there's a tiny bit more to go on but not much; even if you desire 'the architect of Cultural Studies' from the 1960s onwards there is really very little to indicate what Cultural Studies was and is for Hall. It will, I think, be hard for many not to measure the film in relation to their own desire for Stuart Hall, and of course this is a totally understandable way of greeting a film with such a title. Yet to apprehend this film in relation to its adequacy as a representation of Hall's life would be to fundamentally misrecognise the film and mistake its primary mood. To my mind the first thing that needs to be established in attempting to grasp what The Stuart. Hall Project achieves is to attend to it as a John Akomfrah's film--as part of a practice, as part of an aesthetic engagement with the world--an engagement that has been fundamentally shaped as a response to the work of Stuart Hall and to aspects of Cultural Studies. Akomfrah's default aesthetic is elegiac: previous films have evidenced a mournful, haunted quality, often produced by the use of electronic soundscapes and slowed-down images, rendering the recent past as distant and almost ethereal (no wonder that the late Chris Marker was a fan). One consistent aspect of Akomfrah's practice (and the practice of the Black Audio Film Collective, of which he was a founding member) has been to take a public archive and alter it, unmoor it, interfere with it in some fundamental way. …

The interpretation of Q.S. an-Nur: 26 has experienced a significant shift in meaning in the digital era, especially through social media. The verse, which was previously understood in the context of biological purity due to adultery, is now widely interpreted as a form of kafa'ah in religious piety, especially in the context of pre-marital studies that are rampant among the younger generation. This shift is inseparable from the high number of young people of marriageable age in Indonesia and the increasing phenomenon of hijrah which is oriented towards improving individual religious quality. This study aims to examine how Q.S. an-Nur: 26 is interpreted in social media, the factors that drive the shift in meaning, and the impact on the understanding and attitudes of netizens as consumers of da'wah content. This research uses a qualitative method with a literature study approach. Primary data is obtained from video content on TikTok accounts @untaian.ilmu and @remoteaccrusak, while secondary data comes from books of tafsir and relevant scientific literature. Data analysis was conducted through three stages: data collection, data reduction, and interpretation, using Stuart Hall's representation theory approach which includes reflective, intentional, and constructivist representations. The results showed that the interpretation of Q.S. an-Nur: 26 in the context of pre-marriage tends to emphasize the importance of equality in piety as a basis for choosing a life partner. The content invites the younger generation to “perfect themselves” before marriage as a form of spiritual self-improvement. Netizen responses show a complex dynamic, divided between positive acceptance and critical attitudes that question the relevance of the content. In general, this interpretation is considered to be able to have a positive influence in directing a religious lifestyle among young people and helping to reduce the number of early marriages and promiscuity, in line with the objectives of maqashid sharia.

This article aims to analyze the representation of Jember culture in the Jember Fashion Carnival (JFC) using Stuart Hall's representation theory approach. The main concepts applied in this analysis are change and resistance, which are used to understand how cultural symbols are represented and interpreted in JFC. The data collection process was carried out through literature study. Where the data obtained comes from the results of research and scientific work of other people which is studied and then developed. Data analysis was carried out by combining the concepts of Stuart Hall's representation theory with the findings found in the JFC event. The results of the literature study analysis show that JFC is an important forum for representing Jember's cultural identity through costume modifications, dance, music and other performances. In addition, the media plays an important role in the spread and influence of these cultural representations. In the context of Stuart Hall's representation theory, change refers to the transformation of cultural symbols in the JFC, while resistance describes the process of building cultural representations through interactions and agreements between JFC actors, the government and society. Through this process, Jember's cultural identity is represented and interpreted in JFC events. The implication of the results of this research is the need for continuous support in developing and promoting Jember culture through collaborative efforts between the government, cultural actors and the community. In this case, JFC can be an effective means of strengthening and expanding understanding and appreciation of Jember's cultural identity.

The phenomenon of using the hijab from year to year is increasingly diverse. However, not only are there more and more uses and models, but the motifs on each hijab are also increasingly diverse. Merajut Kisah in this case presents a new face in the world of Muslim fashion where it gives a different touch to the hijab. Merajut Kisah adds a design inspired by various countries in the world that have a history of Islamic heritage and its development. This study aims to answer the question of how the syar'i voal hijab represents Merajut Kisah of Eyes of Andalucia in the series Andalusia, Granada, Alhambra, Seville, Plaza de Espana, and Cordoba. The theory used in this study is Stuart Hall's representation theory. Hall's representation has three important points in the analysis process, namely representational elements, representational systems, and representational approaches. The results of the study show that the six syar'i voal hijab of Merajut Kisah of Eyes of Andalucia represents the Islamic culture that once existed in Andalusia. The building, which was used as design inspiration by the Merajut Kisah team, is proven to implement the concept of art in Islam which combines geometry, calligraphy, and plant motifs. The science of geometry is used to create art combined with calligraphy to praise His greatness. Then, to beautify the two arts, plant motifs were also presented.

This paper is entitled "The Glory of Women in an Islamic Perspective". This paper is also based on the importance of discussing women, more specifically from the thoughts of the great scholar, Buya Hamka. Buya Hamka's thoughts in this paper are obtained from his work, namely a book entitled "Buya Hamka Talks about Women". The purpose of this paper is to find out what Buya Hamka thinks about the glory of women from an Islamic perspective. The paradigm used in this paper is the constructivist paradigm. This paper includes a literature review using qualitative methods. In this paper, data collection was carried out by dissecting the contents of Buya Hamka's book and using books, articles, and journals as additional references. Stuart Hall's representation theory is the theory used in this paper. In Stuart Hall's theory, a problem is explained linguistically and then found the meaning of the language. The result of this paper is that Buya Hamka represents the glory of women by providing an explanation of several things, namely: women are mentioned a lot in the Qur'an, women receive the same respect as men, women are given tasks that are in accordance with their physical condition and condition, women gain self-respect, the Prophet's love for his daughters, a mother must be respected, women must be loved and respected, women (wives) are not wrong in the incident of the descent of Adam and Eve from heaven, women are glorified above angels, women are given guarantees property rights, women have special rights.Keywords: Buya Hamka, Women's Glory, Representation.

Successive post-independence governments have embraced women's empowerment in one form or another, either because of their own ideological positioning, or because of demands by their ‘donor friends/partners’ and/or organized domestic groups and NGOs. What has emerged is a varied landscape on women's rights and empowerment work comprising the state bureaucracy, multilateral and bilateral agencies, NGOs, and women's rights organizations, with their accompanying discourses. In the Ghanaian context, Nana Akua Anyidoho and Takyiwaa Manuh look at what the discourses of empowerment highlight, ignore or occlude, the convergences and divergences among them, and how they speak to or accord with the lived realities of the majority of Ghanaian women. Given that the policy landscape in Ghana is highly influenced by donors, they ask which discourses dominate, and how are they used for improving women's lives in ways that are meaningful to them.

Some Current Publications Rose Botaish APHRA BEHN Mathes, Carmen Faye. "Lucretius Taken Lightly: Women's Educations and the Radical Materialist Joke." Representations, vol. 159, 2022, pp. 34–57. This article is an examination of eighteenth-century jokes about Lucretius and their connection to the inadequacies of women's education. Mathes analyzes the radical materialist joke and its potential to invoke "notions of subjectivity beyond agential autonomy" in the work of Aphra Behn, Anne Ingram, and Mary Robinson (34). Jokes generally, Mathes points out, fail to revolutionize because they fail to "move beyond the social spheres already likely to appreciate them" and promote continual comedy rather than consideration of "real-world implications" that would incite actionable change (36). In particular, Mathes highlights the reliance on "patrilineal inheritance" in jokes about Lucretius as pointing to the failures of women's education without successfully inciting useful social change (35). Ultimately, Mathes concludes that jokes' democratic potential is undermined by the boundaries set by its necessary appeal to a certain ingroup audience. MARGARET CAVENDISH, DUCHESS OF NEWCASTLE Zimmern, Arnaud. "Silkworms and Panaceas: Margaret Cavendish, Infinite Nature, and the Progress of Utopia." ELH: English Literary History, vol. 89, no. 1, 2022, pp. 89–113. Zimmern examines Margaret Cavendish's departure from her typical form in the utopian fiction The Description of a New World, Called the Blazing World, a work of fiction wherein she abandons prior convictions that "nature abhors philosophical reduction and will not be made to cure all" in favor of satirizing her contemporaries in the Royal Society (89). Zimmern argues [End Page 189] that she entertains more imaginative "conjectures what a panacea might look like if, rather than a work of artifice, it was an unrefined wonder of Nature; rather than mimic the alchemist's chrysopoeia, it mimicked the caterpillar's chrysalis" (90). Zimmern disagrees with Lara Dodds, Laura Knoppers, Marina Leslie, and John Morillo's scholarship which supposes that Cavendish used the Empress and The Blazing World's panacea to reimagine the role of women and the value of fertility (or, in Cavendish's case, lack thereof) in the Restoration. Zimmerm instead interprets her butterfly language as evidence of her "her remarkable ability to abide on the threshold between warranted skepticism of art and persistent hope in Nature" (108). WILLIAM CONGREVE Urban, David V. "Ironic Allusions to Hebrews 13:4 and Romans 11:16 in William Congreve's The Way of the World, Act III, Scene XVIII." Notes and Queries, vol. 68 [266], no. 4, Dec. 2021, pp. 419–21. Urban points to Congreve's biblical allusion to Hebrews 13:4 and Romans 11:16 in The Way of the World, which scholarship has not previously considered. Contextualizing this allusion with Congereve's insistence that "language 'which is seemingly allusive to the Bible' ought 'be understood only in the context of the play' in which it appears," Urban examines the allusion as signifying the role of the characters Fainall and Mrs Marwood (419). Urban shows the couple's use of scripture in their conversation within the play as Conreve's emphasis on the characters' "impiety and their extreme cynicism towards the institution of marriage" to indicate the sadness of their cuckoldry (420). In this sense, Urban contends that rather than Congreve being blasphemous, his biblical allusions serve to present his characters in a certain light. See DRAMA & PERFORMANCE, RELIGION & THEOLOGY COMPARATIVE STUDIES Hulse, Mark C. "Dryden and Shakespeare in Barry Unsworth's Sacred Hunger: Contrasting Emblems of Nature, Empire, and Communion." Modern Philology: Critical and Historical Studies in Literature, Medieval Through Contemporary, vol. 119, no. 2, Nov. 2021, pp. 276–98. Hulse investigates Barry Unsworth's 1992 historical fiction novel Sacred Hunger and its depictions of eighteenth-century slavery through engagements with Roman, Renaissance, and Restoration texts. This intertextual approach, Hulse claims, expands the novel's reach to be "prescient and timely for modern debates about economic and ecological tensions" (277). Hulse focuses on the references to Shakespeare's The Tempest and its Restoration adaptation by John Dryden, The Enchanted Island. Specifically, Hulse delves into the multiple iterations of the Caliban role in Enchanted Island, which he sees as upending more typical ideas of "the non-European savage" to show that...

Representations of womanhood and patriarchy are presented in the novel Tarian Bumi by Oka Rusmini. Stuart Hall's representation theory is used as a theoretical framework. This research explores female figures who experience gender injustice and how patriarchal domination is deeply rooted in Balinese society. By analyzing the female characters, this article finds that women in Tarian Bumi often face various forms of gender injustice. Women experience limited freedom and life choices, derogatory judgments based on caste and physical appearance, and the burden of traditional gender roles that require them to sacrifice personal well-being to meet social expectations. Rigid social norms and sanctions for breaking norms strengthen patriarchal domination, making women who try to violate these norms get severe social sanctions. This article reveals how the novel provides an overview of social realities experienced by Balinese women, criticizing and challenging unfair patriarchal norms. Tarian Bumi exposes oppressive social structures and fights for gender justice in society. This article contributes to discussions about gender representation in literature and the importance of literature as a tool for social change. Keywords: patriarchy, representation, womanhood

Reviewed by: Massekhet Hullin by Tal Ilan Jonathan S. Milgram Tal Ilan. Massekhet Hullin. A Feminist Commentary on the Babylonian Talmud 3. Tübingen: Mohr Siebeck, 2017. 671 pp. doi:10.1017/S0364009419000175 This handsome and (very) lengthy tome is one in a series entitled A Feminist Commentary on the Babylonian Talmud. The series editor is the author of the volume under review. An ambitious project, A Feminist Commentary plans a commentary to the entire Babylonian Talmud through the lens of a particular focus: feminist studies. As per the publisher's website, for each talmudic tractate, the author will take the texts s/he perceives as relevant to issues of women and gender, write an introduction outlining the tractate's conception of gender and provide a commentary to selected sugyot. Writing a commentary on any work of rabbinic literature, and particularly the Babylonian Talmud, is a formidable task. The Talmud is textually difficult (concise and ambiguous) and conceptually complex, as it contains circuitous, forced logic and highly involved case studies. Therefore, I preface my remarks [End Page 212] below by recognizing the rigor, creativity, and time (the author worked on the volume for a decade!) that writing such a commentary requires. Questions of method and focus stand front and center. Indeed, the usual difficulties involved in writing a commentary are compounded when a focus of choice is imposed on the text. The author's admission at the beginning of the volume is, therefore, praiseworthy: discussions of individual mishnayot and talmudic sugyot make localized contributions to gender questions; these same examples, however, "when approached from a gender perspective" are "incoherent as a whole structure" (7). This critical point cannot be overlooked; it calls into question the ability to write a commentary that presumes the priority of certain questions. Certainly, some tractates, chapters, and sugyot may be better suited for a feminist commentary—just like some tractates, chapters, and sugyot are more appropriate for other academic foci, such as ritual, disability, or animal studies. The task taken on by the editors of A Feminist Commentary to include the entire Talmud, therefore, is not free of some possibly unsurmountable challenges. Only philology and source criticism are methods that can be applied to page after page of talmudic text: every page of Talmud is subject to linguistic analysis and comparison with parallels. However, applying questions of gender to every page of Talmud—even those directly dealing with women—poses interpretive difficulties. In light of the above, the ways in which this volume frames and furthers our understandings are that much more significant. First, I address the form. The placement of parallel texts, Mishnah, Tosefta, and Yerushalmi, in parallel columns in both English and Hebrew makes the study of the material flow for the reader in, perhaps, unprecedented ways. The turning of pages becomes unnecessary and the search for parallels is taken care of before one starts reading. A cursory review of the translations suggests their accuracy. The translation and commentary of mishnaic units as a separate section in each chapter will benefit even students who do not have a particular interest in a feminist commentary. At the end of every sugya, variant manuscript readings are listed, even though their significance is not always explored. Exceptions occur when the variant is relevant for a feminist reading, as noted regarding the case of milk production by a male beast (322; Bavli manuscripts) and the question of whom a priest's daughter may marry (567; Sifra variant). Regarding content, Ilan's observation that the use of "all" in tannaitic literature, at times inclusive and at other times exclusive of women, tends to be interpreted in the Talmud as inclusive is significant (103–4). More insights into interpretive tendencies in the Bavli, such as distinctions between amoraic and stammaitic approaches to issues relating to women and gender, would have been welcomed. Some of the most important interpretations offered are the product of the author's general expertise in ancient studies and experience with tannaitic and Palestinian amoraic literature. Take, for example, the framing of the question in the Mishnah concerning whether a fetus found in a slaughtered beast is an independent living being or not as a polemic...

Does Intimate Partner Violence Decline as Women’s Empowerment Becomes Normative? Perspectives of Bangladeshi Women

Androgynous groups are a minority group still considered deviant in Indonesia as a person's gender is identified based on appearance. The study was conducted to see how one androgynous individual, Jovi Adhiguna, represented his resistance to gender stereotypes through his Instagram. This qualitative study applies the critical discourse analysis from S.Jager and F.Maier in analyzing the content on @joviadhiguna Instagram account as the data. This study uses Stuart Hall's representation theory. The results showed that Jovi visualized his androgynous style and expressed a resistance form to gender stereotypes in criticism conveyed through Instagram content.

Music is one of medium to convey a message. Through music, people do not only enjoy the beat but also know what is behind the lyric. Jadilah Legendais one of the songs written by Superman Is Dead (SID), Punk Rock pioneers from Bali. In this scientific study, the authors aim to analyse the portrait of nationalism among Indonesian people depicted in Jadilah Legenda. The qualitative approach is used to analyze the lyrics of its song. The dataset was taken from SID’s official website www.supermanisdead.net and any other journal articles. To support the analysis, the authors apply the Scansion approach from Dennis DeSantis to analyze the stress pattern on the lyrics and Stuart Hall's representation and cultural identity to interpret the message of the song. As a result, the song attempted to portray the nationalism and solidarity of Indonesian people.

The rapid changes of the times affect various aspects of human life globally. This condition is considered part of the conditions that occur in the Volatility, Uncertainty, Complexity, and Ambiguity (VUCA era). The VUCA era has also impacted people in Indonesia, especially in the economic sector, causing prices of basic necessities to keep rising. To manage the economic situation, the Indonesian government must adopt an effective public communication strategy to stabilize society. This research uses Stuart Hall's representation theory, which examines how language produces meaning in public communication. The aim is to analyze the government's communication strategy in responding to global economic and political uncertainty in the VUCA era. The study adopts a qualitative approach, utilizing critical discourse analysis by Norman Fairclough. The primary data comes from the Indonesian government's communications, specifically through the Presidential Secretariat's YouTube account, analyzing three selected videos. The findings indicate that President Joko Widodo's administration aims to shape public perception, reassuring citizens that the nation's economic uncertainty is manageable. This research highlights the importance of understanding the VUCA era and provides insights for the government to adopt appropriate communication strategies to guide public attitudes and behavior.

Film is a mass communication medium that can display messages in audio and visual form simultaneously aimed at a particular group. As a form of mass media, films are also used to convey ideology to the general public. So quite a few women in films are positioned as inappropriate subjects. The film Sewu Dino is a horror film that features many female characters in it. This film is a film that still views women as negative subjects because the image of the majority of female characters is depicted as weak, oppressed both physically and psychologically. The aim of this research is to see how the image of women is depicted in the horror film Sewu Dino through the signs displayed. This research uses a qualitative approach using Roland Barthes' semiotic method. As a result of this research, the author explains the representation of women's images along with the signs or symbols in the film Sewu Dino. So that viewers of the film Sewu Dino or readers of this research can understand the meaning of the denotation, connotation and myth of the representation of the image of women depicted in the film Sewu Dino, which is depicted through their physical image such as long hair and brown skin color which is in accordance with Stuart's theory of representation. Hall is reflective. Then from the psychological image, women basically have a gentle nature, have a nurturing nature, and a high level of affection, which is in accordance with Stuart Hall's representation theory, namely intentional. As well as the depiction of the social image of women in which women are depicted as having a lower position than men and only carrying out the burdens given to them so that in the end they tend to be discriminated against, oppressed, and then make them become victims and are often depicted as ghosts in films which is in accordance with Stuart's representation theory. Hall is constructional.