Deconstructive Perspective Research Articles

SOEGIJA BIOPIC FILM, POLITICAL AFIRMATION, AND POLITICAL IDENTITY: DECONSTRUCTION OF INDONESIAN HISTORIOGRAPHY

Soegija's movie is a biopic film based on the historiography of the highest leaders of the people and the Catholic church in Indonesia. Soegija's film is an antithesis of Indonesian historiography so far, especially the historiography of the era of the Indonesian independence revolution. This article discusses the political affirmation and identity politics of Soegija's film from the perspective of Derrida's Deconstruction. Derrida's Deconstruction approach and historical methodology consisting of Heuristics, Hermeneutics, and internal criticism are used to understand the position of Soegija's biopic on Indonesian historiography. The results of the study show that Soegija's film is a biography moving picture of the character Mgr. Albertus Soegijapranata, who narrated historical facts about the national attitude of the Catholic leadership as the first native bishop. In deconstruction, it appears that Soegija's biopic is a representation of the political affirmation and identity politics of educational cultural resistance to the truth of the historical facts of the character Mgr. Albertus Soegijapranata who is in binary opposition to Indonesian historiography.

Disruption of the Stereotypical Gender Construction through Afghan Women’s Voices in Khalid Hosseini’s A Thousand Splendid Suns

The paper aims to explore Khaled Hosseini’s A Thousand Splendid Suns(2007) from the deconstructive perspective of gender construction through the untraditional and challenging role of women in patriarchal Afghan society. Hosseini is one of the acclaimed Afghan-American novelists whose art speaks against the concerns of discrimination and segregation on ethnic, religious and gender basis. His novels are deeply entrenched with his own observations and experiences to portray the grim realities and the woes of Afghan society that is badly torn by the unending wars on its soil. The deconstructive approach challenges the taken-for-granted patriarchal socio-cultural norms of Afghan society represented in A Thousand Splendid Suns. Women characters engage in diverse performances that question the stability of gender construction in the novel. The variability of gender in the novel depends upon performativity of the characters. In their actions, they generate multiple shades of gender identities while deviating from norms of masculinity and femininity. So performances of the characters in the novel determine their gender identities in their social existence, their sexual labelling has nothing to do with their gender identification. Therefore, the novel exhibits the stereotypical and patriarchal norms prevalent in Afghan society that are used as a justification for the persecution and discrimination of women on gender basis. The paper thus argues that the country’s rampant gender stereotypical standards are resisted and challenged by the performativity of women characters. Furthermore, the research presents an innovative approach to study gender construction in a feudal Afghan society through its interrogation of gender stereotyping.

뮤지컬 양식사 전개에 나타난 특성과 전략 - 통합과 해체의 관점을 중심으로 -

본 연구는 현대 뮤지컬사에서 대두되는 뮤지컬 양식을 통합과 해체란 관점으로 분석함으로써, 각 양식에 내포된 특성과 전략을 학술적으로 규명하는 데 있다. 뮤지컬의 양식은 시대에 따라 이합 · 통합 · 해체 · 융합의 시기로 나눌 수 있다. 뮤지컬 양식은 모더니즘과 포스트모더니즘의 관점으로 양식의 발현시기와 의미를 고찰할 수 있다. 모더니즘은 ‘통합’과 ‘집중’의 에너지가 주조를 이루며, 전기 포스트모더니즘은 ‘해체’와 ‘분산’의 동력이, 후기 포스트모더니즘은 양 사조의 변증법적 결과물로서 ‘융합’과 ‘조화’의 철학이 주조를 이루며 작동하고 있다. 뮤지컬의 창작 원리인 통합과 해체 원리는 뮤지컬 태동기의 불안정한 이합의 양식의 발전기를 지나 발현하였다. 이후 로저스와 해머스타인 2세의 등장으로 인해 드라마의 선형성이 강조되는 북 뮤지컬의 통합 원리를 구축하였고, 새로운 내용을 담기위해 콘셉트 뮤지컬의 해체 원리가 탄생하였다. 이후 뮤지컬 작품들에서 발견되는 ‘융합성’은 이합에서 통합으로, 해체에서 다시 통합으로 선회하는 것으로, 좀 더 발전적인 의미에서 통합이 해체를 다시 포용하고 있다. 이렇듯 끊임없이 서로에게 영향을 주면서 더 좋은 방향으로 발전하는 융합적 절충은 뮤지컬 양식의 발전에 이바지 할 수 있음을 알 수 있다.

Impact of Multicultural Diversity on the Gender Stereotyping in Bapsi Sidhwa’s The Pakistani Bride through the Deconstructive Perspective

The article analyzes the impact of multicultural fictional representation of the two female characters on the gender stereotyping in Bapsi Sidhwa’s The Pakistani Bride (1990) by applying Judith Butler’s gender approach. The novelist (1938) is a distinguishing Anglophone, post-colonial and diaspora writer in South Asia (Suleri, 2001) who is known to be the pioneer of Pakistani novel in English. Sidhwa’s portrayal of different cultural milieu in the novel under study is to highlight the impact on gender identification through the analysis of the performativity of the two brides, Zaitoon and Carol. The first lady, one of the key characters, confronts and challenges the tribal gender norms of a Pakistani society and the second bride mirroring of an American culture projecting of a diverse identification. The multicultural contextual background of the novel leads the debate to analyze how different gender roles are performed by each of the brides to support the research contention that gender is wrought not by sexual categorization but by socio-cultural stereotyping. Therefore, the cultural differences in the book necessarily require fluid shades of gender identification accordingly. It is the targeted objective of the research framework applied by the study that gender is an action, it is a fluid and instable feature as has been manifested through the performance of the focused characters in the novel.

Revisiting early punk cinema

This article outlines the main discussions around punk aesthetics and the culture of commodification, tracing the methods of punk's canonization back to the two early films that have been considered within the documentary genre and described as ‘transparent’ mainly due to their low-budget conditions: The Punk Rock Movie (Don ) and The Blank Generation (Amos Poe and Ivan Král, ). As this ‘punk cinema’ canon stems from a larger standardization of punk history, this article firstly presents the criticisms around the dominant narratives in the discourse around punk and the role of subjectivity in their writing. Drawing from deconstructive perspectives that give room to think about the relationship between punk and representation beyond the canon, I look at the ignored aspects of early punk cinema that involve a reliance on the cinematic referential codes of the heteronormative gaze, echoing the media sensationalism of the time. The Punk Rock Movie’s overlooked cinematic engagement with the media representations of punk and The Blank Generation’s approximation to cinema verité are both analysed in relation to how they textually engage with the ‘immediacy’ of the environment. In this analysis, the abundance of concert and archive footage comes across as an overriding effect in the reception of the two films. Expanding on Stacy Thompson’s adoption of Roland Barthes’s textual analysis in theorizing punk cinema, this article reconnects with what is actually ‘self-reflexive’ about these films as well as aiming to uncover how their overshadowing sense of transparency is constructed.

On Différance between Shakespeare’s Shylock and Bakathir’s Shylock

Enigmatic Shylock, the central figure of Shakespeare’s The Merchant of Venice (1596), and its varied interpretations continue to intrigue critics since the play’s publication. One of the most faithful yet different of its adaptations is Bakathir’s The New Shylock (1945). The present paper aims at deconstructing Shakespeare’s Shylock and Bakathir’s Shylock in the light of Derrida’s concept “differance” to compare the two versions of the Jew and possibly capture the extremes of Jewish identity through several stages of their history. The significance of comparing Bakathir’s version of the Jew, which exemplifies the opposite Eastern pole, to the Shakespearean Western is supposed to portray two crucial stages in the process of Jewish identity construction. Tackling the two Shylocks from the deconstructive perspective provides a text-oriented analysis focusing primarily on the binaries and the semantic and etymological meanings of words that reflect the tell-tale moments in both texts. The study finds out that whereas Shakespeare’s Shylock is defeated because of his inability to control events, Bakathir’s Shylock succeeds in mastering the play of circumstances, but temporarily. His suicide, at the end, enhances possibilities to answer the main inquiry: Who is “Shylock”? Therefore, further studies are recommended to compare and contrast Shakespeare’s Shylock with the most recent adaptations, in the East or the West, using the same theoretical framework to provide an image of the Jew/ Zionist in the spatial and temporal processes of the Jewish enigmatic identity development.

John Donne’s A Valediction: Forbidding Mourning: A Deconstructive Reading

This article attempts to re-read John Donne’s ‘A Valediction Forbidding Mourning’ from a deconstructive perspective. The purpose of re-reading the poem is to question its coherence and its organic unity. This is done through a close reading of the poem. The objective is to unmask internal contradictions and inconsistencies in order to show the incoherence that underlies its apparent unity. The effect of witty analogies, comparisons, images and even words is examined. In this process the implications associated with the situations involved in the analogies are to be taken into consideration. The way certain associations, implications and undercurrents contradict or undermine the apparently consistent argument of the poem is to be foregrounded. Through this deconstructive reading, the article finds that the poem could be read as a fine specimen of rhetoric but it clearly lacks in logicality and consistency.

On epistemic violence in psychological science

Held (2020) questioned the support for rejecting all objective knowledge as a response to epistemological violence. However, the argument presented appears to understate the support for its conclusion due to its structure. Also, the scientist/folk dichotomy invites further attention from the perspective of Derridean deconstruction. The root of the epistemological violence problem seems to be the characterization of knowledge production as a solitary activity and Habermas’s discourse ethics offers a form of objective knowledge which avoids this characterization and can thus fend off epistemological violence without a wholesale rejection of objectivity.

Deconstruction of Mandala’s Puri Agung Karangasem

Abstract-Deconstruction is a method, a thought as well as a theory created by Jacques Derrida, a philosopher and critic of French literature. Derrida himself was reluctant to determine exactly what deconstruction is. Derrida only mentions what is not, not what is yes. However, the thought that is currently on the decline is actually attracting the attention of architects so that his fame is revived. If you follow Derrida's way of thinking surely no one will be able to explain what deconstruction is, because once he explains that the deconstruction revealed is not deconstruction. To better recognize and understand the strategy of deconstruction in architecture, the way Bennedikt should be imitated, as a method of analyzing architectural works using the perspective of deconstruction. In this paper we will try to read an architectural work, using Bennedikt's method. The work that will be the object of reading is Puri Agung Karangasem. The main objective to be obtained through this paper is to find out whether the work can be classified into deconstruction architecture, to deepen the understanding of deconstruction itself and at the same time train sensitivity in thoroughly reviewing an architectural work through an observation angle.
 

La humanidad como criterio normativo en la obra de Judith Butler

Este artículo aborda la contextualización de la ética de Butler en un marco teórico que da por supuesta la perspectiva deconstructiva y que, por su parte, es reconstruido de acuerdo a dos criterios, las nociones de “matriz disciplinal” y de “paradigma”. Mediante ellas se trata de proporcionar un sistema de conceptos o categorías usuales en la teoría ética en general, pero redefinidas en términos butlerianos. Estas categorías a las que nos referimos son la acción, los sujetos, los juicios y los criterios morales y, que, aplicadas a la ética de Butler, dan lugar a una ética precaria en la que la humanidad normativa se revela como imposible universalmente y, por tanto, no puede ser utilizada como “fundamento” de un juicio moral universal. Por ejemplo, la que se sugiere mediante las manifestaciones de duelo por la humanidad de “los nuestros”, víctimas de la violencia, de las que queda excluida estructuralmente la humanidad de “los otros”.

British Values and the Deconstruction of Thomas Hardy’s Short Story 9quotes9Netty Sargent’s Copyhold9quotes9

The present study deals with the analysis of Thomas Hardys short story “Netty Sargents Copyhold”. To have a deconstructive analysis of the short story, Barrys (2002) three levelsof analysis, i.e., verbal, textual and linguistic, have been used. It was found that the story has words with contradictory and confusing meaning entrenched in the British values. Also, the story has a diversion in ideas and grammar. However, no such examples of the third level were found in the story. In short, the story has words, grammar, and other ideas which give it a loose structure when reading from the perspective of deconstruction, which lead the researchers to conclude that the work is a fine specimen of the spirit of the Victorian age.

BERHERMENEUTIK BERSAMA DERRIDA

Humans are interpretive beings; a creature that is always seeking meaning and understanding reality outside of himself. The process of understanding and understanding continues and is productive as long as humans are and exist in this life. As long as there is an effort to interpret and understand, hermeneutics play a role. This paper tries to see hermeneutic understanding as a means of criticizing the absoluteness and dominance of meaning and understanding from the perspective of Derrida Deconstruction. Hermeneutics in the perspective of deconstruction provides important space for readers and their context in constructing meaning. The various meanings and understandings are appreciated as a necessity of a process of reading texts. Through Derrida's glasses, deconstruction becomes a reflective tool to open new awareness and new possibilities, which may have been missed in the effort to understand

Progress in Education: A Deconstructionist View

In this paper, Foucault's ideas, commonly termed deconstructionism, are employed to argue that there are several perennial myths in educational thought and research (e .g., all change is progressive and what is promoted as change is novel). These are discussed with specific reference to statements by two instructional psychologists, R.M. Gagne and B.F. Skinner. Three commonly held assumptions about progress in education that have likely lead to such myths are also discussed from a deconstructive perspective. Work of earlier educators and researchers such as Quintilian, Bloom and his associates, Elkind, and Popper are presented to support this particular method of criticism.

Deconstruction of Binary Opposition in Kritikus Adinan Story by Budi Darma

<p><span lang="EN-US">Writing this article backed by mult</span><span>i</span><span lang="EN-US"> interpretation problems raised by a text, especially literary texts. Mult</span><span>i</span><span lang="EN-US"> interpretation is inseparable from the consciousness and unconscious of the subject of the author, as well as the process of reconstruction by the reader. Based on this article this article aims to describe the results of deconstructing binary opposition readings on the story of <em>Kritikus Adinan</em> by Budi Darma. The data source used is the story of <em>Kritikus Adinan.</em> The research method used is descriptive analysis with the theoretical perspective of deconstruction of Jaques Derrida. Based on the findings and data analysis, the results show the following. <em>First</em>, the deconstruction readings of the <em>Kritikus Adinan</em> can not be separated from the word-scoring process as Jaques Derrida puts it in deconstruction theory. <em>Secondly</em>, the reconstruction of Kritkus Adinan’s story leads to unfamiliarity but leads the reader to discover the marginalized texts.<em> Third</em>, based on the results of deconstruction reading in the story of <em>Kritikus Adinan</em>, there is a binary opposition that has been denied and broken by the author by presenting a reversal of fact. Suggestions that can be recommended are many other literary works that are worthy and important to be reviewed by other researchers to uncover the phenomenon of reversing the facts by the author.</span></p>

The ethics of neorealism: Waltz and the time of international life

This article addresses the question of what it means to think of a distinctly international ethics by developing a radical reinterpretation of Waltzian neorealism from a Derridean deconstructive perspective. The core argument of the article is that Derridean deconstruction effectively explains why there is an ethics of neorealism in the first place, and why this ethics cannot be easily overcome. Underpinning this argument is a notion in Derrida’s philosophy of survival as an unconditional affirmation of life, which finds an equivalent in Waltz’s theory of international life in the anarchic system. On this basis, I claim that Waltz’s theory is ethical, not despite its focus on the structural conditions of survival, but precisely because of it. Moreover, the article shows how this notion of ethics renders universal ethical ideals, beyond relations of violence, not only impossible, but undesirable. They are undesirable because to actually fulfil them would be to undermine the conditions that make international life possible in the first place. In this way, various attempts to theorize the meaning and implications of international ethics that hold on to the notion of ethical ideals beyond relations of violence become untenable. Instead of aspiring towards such ideals, the article concludes, international ethics should be thought of as an unconditional affirmation of the incalculable future that structures international life and inevitably exposes it to the worst forms of destruction, but also enables the making of responsible decisions.

Masculinity or Femininity: Questioning Social Gender of Personal Nouns

Since essentialism and binarism of gender is challenged in gender studies, poststructuralists argue for a more deconstructive perspective of gender. Through a survey on social gender of thirty lexically female and male Chinese personal nouns, this research tends to examine: 1) how lexically female and male personal nouns are socially gendered in language use, 2) how such social gendering affects sex stereotyping. Combining a langue-oriented and structuralist framework with a parole-oriented and poststructuralist perspective, the author shows that diversified language use encourages coining of new lexical forms. Along with this process transitions and shifts happen to traditional sex stereotypes. This research encourages more similar research with combined structuralist and poststructuralist approaches on the interrelationship between gender and language. (Personal nouns, social gender, sex stereotypes, gender representation)

Heterogeneity in Bao-yu from a Deconstructive Perspective

From the perspective of deconstructionism, by employing Miller’s repetition theory, we find a different way to understand heterogeneity in Bao-yu, the protagonist of A Dream of Red Mansions. The repetitive relationship between Bao-yu and the Stone, and the repetitive relationship between Bao-yu and Divine Luminescent Stone-in-Waiting, together bring into shape and highlight heterogeneity in Bao-yu.

O juiz (diante) da desconstrução: hermenêutica constitucional e fracasso à luz da filosofia de Jacques Derrida

This article aims to investigate, from the perspective of deconstruction and differance, who is the judge (on the face) of deconstruction, which limits and contents deconstructive operation brings to constitutional hermeneutics. Taking the theory of performative acts and revisiting it in the light of authors such as Jacques Derrida and Judith Butler, taking from them the notion of failure as “law” of the performative, legal interpretation will be placed not only as an activity open to dissent, but also as an activity that has failure as its “law”, demanding that a correct or ready sense never comes.Keywords: deconstruction, performative acts, failure, constitutional hermeneutics.

The Perspective of Deconstruction: Oedipus Rex

Deconstruction-the influential feature of post-structuralism owes much to the theories of Jacques Derrida (1930–2004), the French philosopher and critic, whose Essay Structure, Sign and Play in the Discourse of the Human Sciences (1966) and book Of Grammatology (1967) began a new critical movement. Deconstruction defines a new kind of reading practice and thereby a method of criticism and mode of analytical inquiry. A deconstructive criticism of a text reveals that these are nothing except the text. The initial stage of Derrida's deconstructive theory is the contention that both speech and writing are signifying processes which lack “presence.” The inherent, subversive, selfcontradictory and self-betraying elements in a text include-what is outside the Text (dehors de texte) and what is not said. But despite the presence of what is absent, Derrida's dictum that it n'y a pas de hors-texte’ (i.e. one cannot evaluate criticise or construct a meaning for a text by reference to anything external to it) must be seen as a sina qua non of deconstruction. What is not said constitutes a “gap, ” “Lacuna” or “aporia, ” filled by assumptions and propositions. Oedipus Rex-is a masterpiece Athenian tragedy by Sophocles, which was first performed in 429 B.C. Prior to the start of Oedipus Rex, Oedipus has become the king of Thebes while unwittingly fulfilling a prophecy that he would kill his father, Laius (the previous king) and marry his mother, Jocasta (whom Oedipus took as his queen after solving the riddle of the sphinx). The action of Sophocles’ play concerns Oedipus search for the murderer of Laius in order to end a plague ravaging Thebes unaware that the killer he is looking for is none other than himself. At the end of the play, after the truth finally comes to light, Jocasta hangs herself while Oedipus, horrified at his patricide and incest, proceeds to gouge out his own eyes in despair. This article aims to study Oedipus Rex as the perspective of deconstruction.

Generic Challenges: English Epithalamic Tradition and Its Deconstruction (The Case of John Donne)

The paper is an attempt at the analysis of generic flexibility as reflected in the minor literary genre of epithalamium, or wedding song. The problem is approached from the reader response and mythopoetic perspective by focusing on John Donne’s Metaphysical instrumentarium employed in the experimental testing of the conventional boundaries. Although, on the one hand, Edmund Spenser’s Epithalamion very successfully follows the Sapphic-Catullan conventions and is regarded as the best creative achievement in English literature, J. Donne’s three epithalamions, in their turn, demonstrate the Baroque virtuosity of transformation. The poet daringly experiments with the responses of both the epithalamic and Metaphysically oriented audience inviting the readers into a challenging rhetorical game. Although he borrows the motifs from classical and Christian nuptial tradition, due to his poetic style marked by the structural and verbal ingenuity, the epithalamic relationships get reordered. The perspective of generic deconstruction with regard to Metaphysical conceited imagery invoked to dramatise the matrimonial marriage as seen in J. Donne’s epithalamions is discussed for the first time in Lithuanian literary criticism.