Indonesia Feminist Comparative Literary Approach to Variations in Recomposing
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Feminist Comparative Literary Approach to Variations in Recomposing Agni Pariksha Sita in Three Indonesian Poems A Comparative Feminist Approach on the Variety of Re - writing Sita's Agni Pariksha in Three Indonesian Poems Dipa Nugraha a ,
, Suyitno b a
University Muhammadiyah Surakarta , Jalan A. Yani, Pabelan, Kartasura, Sukoharjo, Indonesia , Telephone (0271) 717417, Post - El: dipa.nugraha@ums.ac.id b sebelas Maret University , Jalan Ir. Sutami No. 36A, Jebres, Surakarta, Indonesia (Manuscript Received March 24, 20 20 — Final Revised April 26, 2020 — Approved April 27, 2020) Abstract: The Agni Pariksha (trial by fire of Sita) chapter in the Ramayana story has inspired many Indonesian writers to produce works - literature work. So far k There have been many lectures on works inspired by Agni Pariksha do , but not yet some use a feminist comparative literary approach. Apart from that, there are still doubts regarding male involvement - men in feminism and/or kri tick against the system patriarchy. This research uses a feminist comparative literature approach to three poems: "Asmaradana" by Subagio Sastrowardoyo, "Sita Magic" by Sapardi Djoko Damono, and "A Letter from Confiscation Before Labuh Pati" by Soni Far id Maulana. Careful reading and Content analysis was carried out on the three poems to reveal the latent meanings of contemporary feminist nuances compared to the original story of the Ramayana. This research produces findings that third the poem criticizes the ideal representation of da ri construction of heterosexual gender relations in the system patriarchy that was awakened from the story of the Ramayana. These findings provide evidence that men - man can also criticize the patriarchal system from their position as men - men and at the same time man articulate their views that are coherent with the feminist movement. Say k key: Agni Pariksha
feminist comparative literature
existentialist feminism
subject questions
subject in situation Abstract: Agni Pariksha (Sita's Fire Ordeal) in Ramayana has in inspired by many Indonesian writers. Previous studies on the writings inspired by Agni Pariksha in Indonesian literature have never used comparative feminist literature approaches. Moreover, there have been doubts about the involvement of men in feminism and/or in c ritisizing patriarchy. This study use d comparative feminist literature approach on three Indonesian poems: “Asmaradana” by Subagio Sastrowardoyo, “Sita Magic” by Sapardi Djoko Damono, and "A Letter of Confiscation Before Labuh Pati" by Soni Farid Maulana. These poems were close read and analyzed using content analysis to reveal their potential pro - feminism messages while also compared to the story of Ramayana. This study found that the three poems criticize the ideal representation of heterosexual gender relations on construction in the patriarchal system based on the story of Ramayana. The findings suggest that men are able to give criticism towards the patriarchal system from their subject position as men while at the same time also articulate their pros - feminism s tance. Keywords: Agni Pariksh a; comparative feminist literature; existential ist feminism
subject question
subject in situation How to Cite: Nugraha , , D. , Suyitno . ( 20 20 ). Feminist Comparative Literature Approach a Bags of Their Variations
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NTRODUCTION Rama d's love story an inner Sinta Ramayana is not only inspiring hundreds of writers in India in expression reception and interpretation follow spirit of the times, religious commitment, to political views, but also provide inspiration for literature - modern woman in culture an per - well and/or still affected Ramayana tradition (cf. Aveling, 2012; Clark, 2001; Damono, 2017; Richman, 2008) . Text - derivative texts appear from the story of the Ramayana, from something that still subject to sacred narrative traditions Hinduism, from a Buddhist perspective, pan - with Javanese life, a revamping of myths to radical transformation changing the sacredness of Rama's character and Sita (Aveling, 2012; Purnomo, 2017; Richman, 2008; Rokhmansyah & Nugroho, 2019; Santosa, 1999; Zoetmulder, 1985) . Specifically on a b inner brother Ramayana, chapter Agni Pariksha (perco - baan fire on Sita or Sita), there is several studies with approaches intertextuality or comparative literature which shows the birth of the text - text new ones l el, surprising, even demystifying . In an inter-study - textuality, a text is created from copy - copy of the text - other text. Creation of new texts such as se - like an involved process deconstruction and reconstruction of the text - text that was born first (Gosselin, 1978) . For that reason, in pene - research carried out by Harry Aveling (2012) can be found that rhyme “El gi Sinta” by Dorothea Rosa Herliany presents Sita who is raped - racked by the libidinal desire to lust - with Ravana compared together Rama is shown as a man man - cowardly man. Other research is researchers - carried out by Praise Santosa (199 9) . Through a tire literature approach - in conjunction with the theory of intertextuality Riffaterre, he talks about poetry "Asmaradana" by Subagio Sastrowardoyo. In this poem, me - according to Puji Santosa, Sinta Diu's character - bah by Subagio Sastrowardoyo menja - in figure the woman who followed his lust by loving his captor the one with the thick fur of the male, Ravana. Other research is also worth discussing - but is the research carried out by Madoka Fukuoka (2015) . With text comparison method, he menun - prove that in wayang comics, Raden Ahmad Kosasih has adopted it - the original story of the Ramayana with mod i - give to several characters and compositions restructure the Ramayana story. Kh intestines in the round Agni Pariksha , Kosasih showing Sita who does not protest towards rituals Agni Pariksha . Even, before going into the fire without the slightest doubt, he gave it away smile at Rama. Look at the writing - previous post, in variations g change existing ones So far it has only been mentioned that Sita chose Ravana over Rama or Sita agreeing to the ritual Agni Pariksha because it entered the fire with tar - smile. However, reviews regarding wu - title the change as a form author's expression man - pro guy - feminism has not been studied for its coherence with the existing feminist movement. In This is where the urgency of use arises feminist comparative literature approach on re-composing the round Agni Pariksha in Indonesian literature. In Indonesian literature, se other Dorothea Rosa Herliany with poetry "Elegy of Sinta" ([2002] 2005) , Subagio Sastrowardoyo with a poem entitled “Asmaradana” ([1975] 1994) , and R.A. Kosasih through wayang comics Ramayana volume 10 “Ravana Angkara Wrath" (1975) as has been studied
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b y Harry Aveling, Puji Santosa, and Madoka Fukuoka, some sast vulnerable has also recomposed the act Agni Pariksha . They are Esthi Utami DP with a short story entitled “Api Pe - laundry" (2002) and Ardian Kresna de - just a novel title Sinta Obong (2012) . For poetry, Agni Pariksha inspect - constellation of poets - Indonesian poets such as, Sapardi Djoko Damono with poetry “Confiscate Magic” ([1990] 2017) , Goenawan Mohamad with “Towards Pemba - Karan Sita" ([1994] 2001) , Arief Good Prasetyo with the poem "Api Sinta" ([1996] 2009) , Soni Farid Maulana de - with the poem "A Letter from Confiscation Before L Pati's father" ( [ 1998] 2000) and “Confiscate Obong" (2004) , And Triyanto Triwikromo with the poem “Tersina Pem - burnt Sinta" (2009) . However, p Ingga Currently there has never been a study with using a tire literature approach - feminist attitude towards literary works Inspired Indonesia round irration Agni Pariksha from the story of the Ramayana. These three poems were deliberately chosen because, apart from the three poems written by men - man, initial reading of the three menus - rate pro performance - feminism and All three poems have a narrative different. First poem a displays Sita fell in love with Ravana and bravely picked up his death through Agni Pariksha , sa - The second jak displays doubt - doubt Sita to do Agni Pariksha And Sita's desire to part with Rama, while poetry third menam - choose Sita who will still carry it out - right Agni Pariksha even though he had doubts does he know and is still in love? - tai his lover Rama. This article is here - rapkan will be able to provide gam - I'm sure it's a man - men are able to interpret - tic patriarchal system of their position as a man - man (Rosaldo, 1993) And while also providing evidence that feminism, a movement that criticizes patriarchal system, can provide place for men - men to get involved (Baily, 2012) . When in k ritik feminist literature, ber critical approach - operations on reading practice on representation of women and/or manner gender ideology in the patriarchal system - archy works within a text, da - lam of feminist comparative literature occurred additional reader operations an i.e the practice of comparing between texts appears first and the text appears Then. Femi comparative literature approach - nis is a great approach - combine comparative literary approaches and feminist literary criticism. Approach comparative literature feminists put feminism as part of the intersection - the or intersection of literary endeavors appeal accepts, not only per - different views, but also discourse which can be compared not only across cultures and countries, even across in sa that's a cultural community and/ or a country (cf. Lancer, 1994) . With Thus, comparative literature will emerge - in studies that continue to develop and give an idea about no only differences exist, but also complexity i su gender throughout world. Apart from studying various festivities variety of feminist discourses across countries - ra and culture, comparative literary work Feminists also discuss development male response and involvement - inner man feminist movement in the text and disk rsus the narratives they produce both in suspicion of participation they (Williams, 1990) or rather saw the need to start accept male participation - man inside feminist movement and discourse (Hebert, 2007) . As is commonly known - hui, text - feminist texts are the result thinking about the ways of social institutions
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can be organized (in this context is a gender system) and becomes tem - pat the production process, reproduction, decon - construction and reconstruction of gender relations occurs between men - man and woman - ma'am (cf. Milech, 1991) . When it's a girl started sharing their experiences via text and also then appears idea - feminist ideas in the text circulating, man - men must anticipate changes that may occur from their contact with ideas - idea feminists even though they are actually feminists - me is nothing but a pro - Yes, it's a woman's. That change experienced by men - man in the press - guns bro them with text - femi text - the nature and direction of possible changes carried out by men - man no no po - Tentional contains differences with what women want. Ka - because, after all, men - men don't have experience like that in - owned by women (Nelson, 2003) . Nevertheless, preventing men - man in discussions about femi - nism and engage in discourse feminism will actually create dis - feminism courses become exclusive and failed at the meta level critics (Ruthven, 1990) . A da inevitability for began to open studies about ket - male involvement - men in feminism. Therefore, comparison about the way of contemporary writers er man - man Indonesia rewrote one stories that reflect and members - contribute to system construction patriarchy in the literary tradition and ma'am - Indonesian power, such as the story of Rama and Sita in the Ramayana, can be made research object Interesting ian. METHOD This research is quality research - tif. In qualitative research, researchers is the primary research instrument. Researchers become actors who design and carry out research and participate become a present actor and data (Johnson - Bailey & Ray, 2008) . Data da - In the context of qualitative research this exists - it's textual material (Saldana, 2011) . Because the issue that is the focus is feminism, text material al inside the poem is focused on its relevance with feminism. Data collection was carried out de - just careful reading ( close reading ). In close reading, markers - and is carried out throughout the development process - reading according to the issue at hand focus of study (Jänicke et al , 2015) . Analy - sis d do it methodically content analysis (content analysis). Content analysis is reading work on texts in order uncovering, not only the meaning of mani - fes (open on the surface), but also latent meaning of a text (Saldana, 2011) . Because of the approach used in reading yes ng done is a comparative literary approach fe - minis, textual material of the poem - rhyme works of three male poets - Indonesian man about innings Agni Pariksha the relay - the van with feminism was then banned - compare it with the story of the Ramayana. Although innings Agni P ariksha in in the Indian, Malay, Ramayana manuscripts and the ancient Javanese War episode in Alengka or Lanka tells about things a similar, in this study, story native to India in Richman's book (2008) which will be used. Third poem chosen as the research object is “Asmaradana” kary a Subagio Sastrowardoyo, "Confiscation of Magic" by Sapardi Djoko Damono, and “A shot Sita's Letter Before Labuh Pati” work Soni Farid Maulana. RESULTS AND DISCUSSION The Ramayana Story, Ideological Construction Gender, and Act Agni Pariksha Traditional stories and myths ti not just become a source of ideological construction
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construction of gender ideology of hetero relations - rosexual between Rama, husband - god who is powerful and just and Sita, his wife holy, obedient, and faithful (Delaye, 2012; Mangharam, 2009) . The Ramayana story also an inspiration for writers Indonesia in producing new works to offer a new perspective dal am gender ideology. In analysis Following, a tire literature study was carried out - cold feminists who have a combination comparative literature approach that me - highlight transformations, derivations, ter - text link (cf. Bassnett, 2007) and pen - feminist approach to the text said that "literary works are one of the many ways how gender relations and ideologies are produced and reproduced" (Milech, 1991) . In the round Agni Pariksha , Confiscation finally succeeded l was released after being in - Ravana held him captive for so long. Ravana was previously killed Rama with the God-given arrow Indra in a battle. Rama and Sita are happy because of Da - pat reunites disturbed with sua - ra public that to both cannot be done live again as husband and wife. Reason - The problem is that Sita has been here for a long time - gal at Ravana's residence. Sita mera - dang and asked the gods to testified that he remained loyal and holy while being held captive by Ravana. Rama is worried bro, Sita's statement. He wanted to reject Sita and intended secluded himself to become a monk just. Sita insisted that she would burn herself life - live to prove told Rama that he was pure from Ravana's touch. Sita then men - throw yourself into the depths am fire after sebe - Lumnya prayed to God Agni to help prove it - its purity. When Sita plunged into the fire that was lit, suddenly the fire changed become a golden lotus. Anxiety and Rama's suspicion disappeared. He accepted Confiscate the camp - Bali becomes i his wife. Rama and Sita then returned to Ayodya and lived happy together. Half Agni Pariksha emphasize on the demands of the upper patriarchal nuances women to prove the case - fidelity and chastity to men - man. From This is the story, a burden for women money finds its support in ma - society that was and/or still is influenced by the Ramayana. Existentialist Feminism in “Asmaradana” The first work is a poem Sastrowardoyo entitled "Asmaradana." In this poem, Rama is not slapped il - while Sita, another name for Sinta, is displayed. Sita's character is shown as a woman who is “just me - obey your instincts” and not feel mela - the yoke of sin when choosing to establish a relationship romance with Ravana. Asmaradana Sita amidst the flames don't deny it how beautiful passionate love is The giant who ran him to forest the male's fur is so thick and Sita surrendered herself God did not protect him from hell but Sita did not feel guilty just following instinct
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In his dying squirm he fell at prayer Don't burn it in the fire either dream residue from copulation 1975 (Sastrowardoyo, 1994) In the poem, Sita submits himself to the “running giant - "Go to the forest," Ravana. Sita knows that he surrendered himself to Ravana is hell, but he doesn't feel it sinful. He even men put it back there - ASI is to a god who is not protect Sita from pen's complicated situation - kidnap until surrender. So also apologia through the expression "just follow instinct” for Sita's actions also seems to restore the instinct of lust who ha dir inside Sita to god's power. The phrase “gods don't melin - the devil is from hell" can also mean Sita's realization that God Agni is not will save him because of perbu - relationship with Ravana. Sita Scene the burning and dying undergo Agni Pariksha at the beginning and continued on At the end of the poem he is saying a prayer so that the memories of his love with Ravana will be immortal even more the existentialist nuance of this poem. This poem strays far from re - presentation of Sita in the original manuscript Ramayana as a woman who se - tia only to Rama. Sita who was in - describe following your instincts and me - surrendered himself to Ravana ber - in opposition to the image of the holy Sita and not easily tempted inside Ramayana. In fact, questions exist - tensionalist why pe holy woman like Sita then was not protected by God until you can experience it kidnapping tragedy, contradictory too with several versions of the Ramayana tells that god does not per - well it doesn't protect Sita from the kidnapper - an Ravana through appearance duplication of Sita, Maya Sita (Achuthananda, 2019) and God Agni who makes fire tame to Sita. However, precisely in here comes the poem "Asmaradana" can d put it down. This poem describes the practice of being - rani Sita confronts Agni Pariksha . Sita does not accept the prediction that his fate will be live together with Rama. He chose follow your own destiny and dare me - accept all consequences for actions what he did . This is what happened characteristic of the existential feminist movement - damn (Quinan, 2016) . Re-compose the act Agni Pariksha as done by Subagio Sastrowardoyo in "Asmaradana" indicates the presence of views pro - existentialist feminism. Subagio Sastrowardoyo is also a member agency fish on Sita's character not to feel guilty for his actions. This rhyme also change Sita's application, or Sinta, to Goddess Agni to please - save himself from being burned by the fire original version to Sita who received it - Ma herself burned fire together to - remembering the story with Ravana. Sita described as not afraid of fire as a consequence of his actions. Another thing worth noting inside This poem is an illustration of not lang - sung two men - the man in the poem. One man - men are present with representation "the male has thick feathers" while the male - the other man, Rama, is not spoken of - friend. In feminism, the issue of visibility - hatan and absenteeism or absenteeism discussed as part of the con - instructions regarding the position of the center or mar - upper kidney subject and object (cf. Lewis, 2017; Parkins & Karpinski, 2014) . Ravana's visibility with mas features - culinary compared to Rama who is ab - penny in rhyme works inside changing narrative orientation between pah - fight with criminals. For Sita in in the world “Asmaradana” belongs to
==68, Sihir
Sita Magic Freed at last I am - whether from the claws of Garuda or the arms of Dasamuka Himself in the high tower, I see above: the sky whose cold blue never fades; and below: the fire ignited by Rama - burning like an eternal longing "Jump in, Sita," shouted You, "for air "Water, fire and earth will return to purity." But I also want to be free from Rama's magic. 1990 (Damono, 2017)
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Subagio Sastrowardoyo, Ravana is there - was the hero who was killed by Rama. Rama is a murderous villain Ravana's lover and made a heart Sita is injured. This plus the berries scene - Kutnya forced Sita to do so admitted to spilling n desire libido - then forced him to do it to Ravana to carry out loyalty tests, Agni Pariksha, by Rama. What was done - by Subagio Sastrowardoyo passing by the woven text is really radical if compared to the poem "Confiscate Magic" by Sapardi Djo Ko Damono. Subject and Deep Subject Questions Situation in “Magic Confiscation” Different from some other poems focus on telling stories about Agni Pariksha , Sapardi Djoko Damono's poetry is menam - choose two acts that are far from each other in the story Ramayana, as if - exercise to - These two rounds are sequential. In the story Ramayana, attempt to kidnap Sita by Ravana is located in the far side before the round Agni Pariksha . In This poem is part of The Kidnapping of Sita presents the character Jatayu in the story - sequentially with rounds Agni Pariksha Jatayu is the Garuda bird trying to thwart the thief's efforts - Likan Sita by Ravana. He came because - Na heard Sita's silent screams - dak was taken by Ravana. Very lost, Jatayu was seriously injured by Ravana. Before he died, he told a story an si - what Sita's kidnapper told Rama and Admiral (Richman, 2008) . Method Ravana took Sita to Lanka diki - confirm it's different - different in my script - no Ramayana. There is a menu script - say that Ravana rolls land to bring Sita. There's a script which tells that the body that touched by Ravana is Maya Sita, Sita's duplicate body. However, deep script written by Valmiki, the manuscript with the most acceptance wide, Ravana's left arm - lapped Sita's neck and hair while the right arm Ravana circled his thighs Confiscated when took Sita to Lanka (Ramachandran, 2000) . Confiscate Magic I'm free at last - either from Garuda's claws or the Dasamuka arm Alone in the high tower, see above: sky who ta k wears off the cold blue; and below: fire which was ignited by Rama - burning like eternal longing “Jump in, Sita,” he snapped - Your, "So that air, water, fire and earth, pure again." But I also want to be free from Rama's magic. 1990 (Damono, 2017) The freedom that poetry offers “Confiscate Magic” over Sita in the first stanza how ironic. Garuda Claw (Jatayu) can hurt him despite his intentions is to save him from smothering - Ravana's arm. Dasamuka Arm what carries it is a person's arm who loved, but Sita did not breastfeed - the fabric. She, Sita, be a bit in the middle. So did Sita herself when the gods died above, in the world of the Ramayana, that's how it is cold with the written joke to him while the gods below, Rama, threatened him with fire lights up to test itself.
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Dipa Nugraha, Suyitno / Atavism , 2 3 ( 1 ), 20 20 , ==62 - 74 Copyright © 2020, Atavism, ISSN 2503 - 5215 (On line) , ISSN 1410 - 900X (Print) ==69 “Confiscate Magic” ju not showing you - female character Sita as a trophy contested, a symbol of success an - tarlaki - men, but on the other hand also as symbol of consolation or ransom of sacrifices made by men - man. In the patriarchal system, pere m - You also get a place as entertainer of failure and disappointment man - man (Becker, 1999) . That freedom obtained by Sita from a series of events involving the Garuda Jatayu, Dasamuka, Rama, is never right - It really belongs to me, Sita. He's still there p must follow heaven's orders Rama's wife, rules to obey her husband Rama who is also an incarnation of god, and forced to treat self-esteem Rama was the one who was hurt because he had been kidnapped and touched by Ravana as well have lived long time at home Ravana. The freedom that comes with in the face of it never happened because there is Rama magic, male magic - man, male dominance - men in the system patriarchy. Different from Subagio's poetry Sastrowardoyo was radical because of me - total structure overhaul narrative structure of the original story Ramayana from a feminist perspective Existentialist, poetry by Sapardi Djoko This damano corresponds to the diskur - sus feminism regarding the question of women's freedom within male dominance - man, in the system patriarchy. Freedom women for choosing cannot be avoided external influence. This poem invites on questions about the subject in da - in the feminist movement for women - understand the influence of social structure and collective agency in speaking me - regarding women's freedom ma'am (Einspahr, 2010) . Women's freedom always encounter irony because of the options available always facing himself patriarchal system. Just confiscate it inside ak “Confiscate Magic” is never true - truly free. Successfully capturing Jatayu, he returned to Rama, Ravana managed to take him later found himself still with Rama. Likewise when looking up He found Rama in the sky, looking up Down he also found Rama. Rama Magic Where is it - where. The title given to this poem is, namely “Confiscation of Magic”, confirms that sounds heard in the poem is a woman's voice, Sita's voice, who spoke cast upper magic the situation. When women have able to be rvoice against subjectivity - the top of herself in the patriarchy, femi - nism is casting a magic spell his resistance. In feminist studies - me, having a voice means having an agent - the cause implies one's ability - people to express themselves cent self. To be vocal means to be active and active - oppose with silence or passive sub - missive. The presence of sound is closely related with choice, freedom and rights - to state what is desired. That's why you vote can be interpreted as giving strength n (Lipton & Mackinlay, 2017) . However, yes - In the poem "Sita Magic", where Sita has - Like an agency, there is an irony in that - ation that emerges from this text , namely bah - wa male writer - The man gives Sita his voice to lament his fate in in a patriarchal system. This ironic situation actually occurs - put women into dialectics regarding women as subjects in in situation. Understanding that pe - remp I'm with a man - man in in a patriarchal system in fact menisci - encourage women to fight - not his own freedom ignore men - men in building - for the expected future. Kesa - daran as an oppressed subject and to desire to be free, after all, meru - feed the product of an oppressive situation. Otherness as a frequent attribute attributed to women as
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you that they are the oppressed party, not free to make choices, actually this also applies to men. The act of service is a relatively reciprocal act. Being a woman is a socially constructed experience so that every woman's freedom to interpret and respond to her situation against male pressure in a patriarchal system is continuous and can produce various responses (Kruks, 1992). For this reason, every ironic situation faced by Sita can always produce the potential to achieve freedom. Sita is able to choose actions according to the way she interprets the situation. From here, in the end, Sita was able to reverse the magic cast by Rama. Men's Obsession with Domination, Control and Violence in "A Letter of Sita before Labuh Pati" In the poem "A Letter of Sita before Labuh Pati" , the view of anchored pati(Agni Pariksha) has not yet occurred. In this poem, Sita gives a warning in a letter to Rama regarding Rama's actions. The content of the warning in this letter, in feminist studies, is linked to men's contradictory experiences of power in a patriarchal system. A letter from Sita before Labuh Pati Jungjunan, why is your heart increasingly far from the bosom of my soul Like two cities Separated by a thousand tumbak distance Honor and power That's what you always say As if your heart is flawless Because you are the incarnation of a god? burnt Instantly my heart burned Watching all that; without being able to prevent it. After thatOn the ruinsAnd the tears of the poor; You built a magnificent castle. Jungjunan, the source of my life. Why is your heart increasingly far from love and justice? Why am I increasingly stranger to your side? Even though you are not Ravana, King of Darkness 1998 (Maulana, 2000) Even though men have special status in the patriarchal system, they are actually also victims of internalization of domination and control over something or someone else. Men experience such internalization because they are born into a patriarchal system which provides a way to prove their manhood, to feel fulfilled as men and strong, through the ability to dominate and control (Kaufman, 1994). Being a man means having to present yourself as always strong, able to control situations and conquer others. To be a real man, in extreme conditions, a man must suppress empathy, tenderness of feeling, and compassion. These soft qualities are considered inconsistent with the concept of manhood. Alienation of the man from his human feelings
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happen. There is indifference to taste and the compassion that is within self. Power and control, that is internalized in men - man da - lam the adventure of being a man - man who tough and dominant, demanding himself a man - man to let go and keep your distance from feelings - p non-masculine feeling (Kaufman, 1994) . Rama who pursues honor and power received criticism from Sita. Loss of compassion for them innocent as it happened Rama has made Sita not recognize him. Ra's actions ma in snatch He returned from Ravana's arms in think Sita is too much. Confiscate me - feeling sad seeing his lover, or Jun - jun g nya, loss of love (teen love) from his heart. Alengka country men - so it caught fire and was destroyed as a result u Hanuman is Rama's messenger. as a result There are many residents of the country of Lanka suffer. Sita in the poem above as if comparing that pencu - Led to him by Ravana, the King Darkness, done without arising - there are many temporary casualties Rama mereb ut kem back himself with indiscriminate blind. Sita didn't recognize it Rama through this disproportionate behavior, while Rama needs to do tin - The test is to prove the force - his land. When compared with the original story Ramayana, poem by Soni Farid Maulana Which tells about the letter from Sita before doing anchor starch or Agni Pariksha shows how Sita is not thought that Rama, his lover, was not happy - like the Rama he used to know. Rama has changed or Sita has not never right - really know Rama. The poem “Cousin Cuk confiscation letter s ebefore Labuh Pati” rocked representative tation traditional ideal husband and wife couple Rama and Sita. If this letter is present before Agni Pariksha , Sita's decision undergo Agni Pariksha not for proves its purity from the congregation R ahwana so that they can stay together with Rama. This is what makes the difference This poem is based on the original story of the Ramayana. Sita's letter is the voice of pe - women who criticize men's obsession - men on dominance, control, and power. Feminism also speaks that criticism of the patriarchal system for change, as is done - feminism, not just me - benefit women, but also man - man. Interrelationship of production and re - violent production of masculinity - in a true patriarchal system ma'am lounge for men - man. The violence done, honor pursued, never separated from the concept of ke - men and masculinity. Man - man becomes alienated from himself and her psychologically depressed because you have to always suppress nonmas feelings culinary which is present in him to remain presents himself as a man - man (Alinia, 2013) . Rhyme Soni Farid Maulana in feminist studies it can be called as a work yes n g represents male movement - profeminist man. This movement is a men's movement - the man who changed - by hand with feminism for overhauling the patriarchal and menso systems - rot some the monolithic aspect of being man - real men who, for example, are identical with violence and oppression - face others (Kaufman, 1994) . For the honor of Rama, Lanka became ravaged and Sita was it's the turn of the next victim of abuse. Sita undergo Agni P ariksha not because his love so that we can continue to be together Rama. Sita looks doubtful if he still is I want to continue being with the current Rama he didn't know that. Sita asked - the loss of love, action proportional, and the value of inner justice Ram himself a.
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Dipa Nugraha, Suyitno / Atavism , 2 3 ( 1 ), 20 20 , ==62 - 74 72 Copyright © 2020, Atavism, ISSN 2503 - 5215 (On line) , ISSN 1410 - 900X (Print) Through this poem, Soni Farid Maulana not just deconstructing the figure Rama as a representation of the ideal husband - gods and ideal models of heterosexual relationships - sual. It also shows one perspective - tif of feminism that women can become victims of male obsession - man - to show his honor. In in his poetry, it sells Agni Pariksha Sita it was never about a test of loyalty and Sita's chastity. It's a ritual for maintain and uphold honor what a man needs - man Rama. CONCLUSION Keti It's not the poem that is used as the object of the pen - litian displays diversity pro discursive narrative - feminism. In the poem "Asmaradana" by Subagio Sastrowardoyo, Sita chose Ravana reflects and discourse - in existentialist feminism. Confiscate me - choose Rahw Ana and dare to accept risk of choice. The poem "Sita Sita Magic" the work of Sapardi Djoko Damono menam - select questions regarding the subject in in the discourse of the feminist movement while redefining kebe - basics in a patriarchal system. Subject in situation Sita always provides potential freedom for Sita to me - the response is in accordance with the interpretation da - in the oppression of the patriarchal system. Se - Meanwhile, the third poem, “A Letter Sita Before Labuh Pati” by Soni Farid Maulana criticized represent tation idea I'm male - men in hetero relationships - sexually through the figure of husband god Rama. Violence is the way to go for men - men in system construction patriarchy to fight for honor - mature and seize power men - become the target of criticism. Often juice tru pe - women and others without realizing it - become victims of male pursuit - manfor be honorable and powerful. Man - men must learn to let go of the burden to go through the path of becoming a man - man ideal in that way. Subagio Sastrowardoyo, Sapard i Djoko Damono, and Soni Farid Maulana recomposing the story of the Ramayana men - so something different if tire - ding with the original story of the Ramayana. Rhyme - their rhymes criticize repre - sent ideal ation of relationship construction gender in a patriarchal system g awakened from the story of the Ramayana. It's me - show that men - men can be lazy - park a critique of the patriarchal system from their position as men - men and at the same time showing my views - design that is coherent with movement feminism. BIBLIOGRAPHY Achuthananda, S. (2019). Rama an d the Early Avatars of Vishnu: P lus Ramayana A bridged. On The Galaxy of Hindu Gods . Queensland: Relianz Communications Pty Limited. Alinia, M. (2013). Policing Patriarchy: Honour, Violence and Ma nhood BT - Honor and Violence A gainst Wom - en in Iraqi Kurdistan. In M. Alinia (Ed.) (pp. 53 – 82). New York: Palgrave Macmillan US. doi: 10.1057/ 9781137367013_4 Aveling, H. (2012). “Confiscate P uts O ut the F ire”: S ome D epictions of the Q esting of Sita's V irtue in Indonesia - Sian, Malay, and Thai L iterature. Critica Kultura , 18 , 025 – 043. Baily, J. (2012). What H appens when m en G et I evolved in F eminism? Contemporary m ixed - G ender F eminist A ctivism in England. UNI - version of Sheffield. Bassnett, S. (2007) . I nfluence and I intertextuality: A R eappraisal . In Forum for Modern Language Studies (Vol. 43, pp. 134 – 146). Oxford University Press. Bec ker, M. (1999). Patriarchy and I nequality: Towards a S substantive
