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"In the spring of 1851, Austrian traveller and writer Ida Laura Pfeiffer (1797-1858) embarked on her second trip around the world. Her overseas travels also took her to the Netherlands East Indies (now Indonesia): to Borneo (now Kalimantan), Java, Sumatra, and Celenbes (now Sulawesi). She described her experiences in her book Mijne tweede reis rondom de wereld (1856b), the Dutch translation of her German book Meine zweite Weltreise (1856a, ‘My second world tour’). In the last decades, much has been written about the perspective of female travel authors. On the one hand, nineteenth-century Western women travellers were curtailed because of their womanhood, yet they also played a role in the colonial system. While this might have been “different” compared to that of men, they judged the non-white “Other” in equal measure. This article focuses on how Pfeiffer positions herself in her travel texts. Although she adopts elements of the masculine hero narrative, her book also harbours aspects characteristic of her feminine view."

"Women in politics invariably attract heightened levels of attention due to their marked difference to the masculine political norm. With the rise of social media and online news, political women can achieve visibility, but also experience even more intense scrutiny. Former first lady, Ani Yudhoyono became an iconic figure in the lead up to the 2014 Indonesian presidential election, through her association with her husband’s flailing presidency, and as a high-profile political woman involved in social media blunders. Using critical discourse analysis, specifically social actor analysis, this paper examines the discursive strategies engaged by the mainstream Indonesian online news media to malign Ani Yudhoyono, and draw a wedge between her and the Indonesian public, which in turn undermined her husband’s presidency. The analysis highlights the role of online news media discourse in shaping power relations and ideological groupings, as well as the role of first lady as a target of political contestation."

"Dalam diskusi mengenai gender, terdapat perbedaan konsep di masyarakat dari berbagai penjuru dunia. Sebagian memaknai gender sebagai hal yang tetap, laki-laki dengan maskulin dan perempuan dengan feminin. Sedangkan Judith Butler mendefinisikan gender sebagai suatu tindakan oleh seseorang yang dilakukan secara berulang-ulang sehingga gender tersebut terbentuk, atau gender itu adalah performatif. Maka, penelitian ini bertujuan untuk mengkaji performativitas gender yang dilakukan oleh tokoh utama Makoto Hanaoka dalam anime Senpai wa Otokonoko. Dengan menggunakan teori performativitas gender oleh Butler, penelitian ini menganalisis bagaimana Makoto memainkan peran feminin dan maskulin sehingga membentuk identitas gendernya. Metode yang digunakan yaitu analisis sinematografi, yang tidak hanya berfokus pada teknik shot, tetapi juga memperhatikan elemen visual lainnya dan analisis teks juga berfungsi untuk mendukung proses analisis. Hasil penelitian menunjukkan bahwa Makoto menampilkan performativitas gender yang dinamis melalui ucapan serta tindakan-tindakannya. Makoto lebih cenderung menampilkan performa gender ke arah aspek feminin yang membuat dia akhirnya menemukan identitas dirinya dan memberikan pemahaman yang subversif terhadap konstruksi gender, yaitu bahwa mengekspresikan gender yang tidak sesuai dengan stereotip gender yang berlaku di masyarakat itu tidak apa-apa.

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In the discussions about gender, there are different concepts in societies from all over the world. Some interpret gender as a fixed thing, men with masculine and women with feminine. Meanwhile, Judith Butler defines gender as an action by someone that is done repeatedly so that gender is formed, or gender is performative. Thus, this study aims to examine the gender performativity performed by the main character Makoto Hanaoka in the anime Senpai wa Otokonoko. Using Butler's theory of gender performativity, this research analyzes how Makoto plays feminine and masculine roles to form his gender identity. The method used is cinematographic analysis, which not only focuses on shot techniques, but also pays attention to other visual elements and text analysis also serves to support the analysis process. The findings indicate that Makoto displays dynamic gender performativity through his words and actions. Makoto is more likely to display gender performance towards the feminine aspect that makes him finally find his identity and provide a subversive understanding of gender construction, namely that it is okay to express gender that does not match the gender stereotypes prevailing in society."