Narsisme sebagai wujud eksistensi diri dalam novel My Name is Red karya Orhan Pamuk = Narcissism as a form and act of self manifestation in Orhan Pamuk's My Name is Red
Raden Dibi Irnawan;
Mamoto, Retno Sukardan, supervisor
(Fakultas Ilmu Pengetahuan dan Budaya Universitas Indonesia, 2014)
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[ ABSTRAK Makalah ini membahas dimensi sosio-psikologis dalam seni lukis yangdigambarkan dalam novel ?My Name is Red? karya Orhan Pamuk. Penulismelalui makalah ini berpendapat bahwa dalam kontes antara liberalisme danreligiusitas seni lukis di era Sultan Murat III, sebagaimana digambarkan dalamnovel tersebut, elemen psikologis mewujud dalam narsisme. Ide ini termanifestasidalam bentuk perilaku Velijan Effendi yang di satu sisi memegang teguh prinsipprinsipTimur namun secara estetika tidak dapat menolak keunggulan prinsipprinsipBarat. Hal ini mencerminkan bagaimana dua budaya bertemu danmenghasilkan gejolak psikologis pada diri individu terkait isu pembuktian diri.Makalah ini juga menyorot potensi ketidaksesuaian gambaran narsisme yangdipaparkan Orhan Pamuk dengan pemahaman masa kini terkait narsisme. Hasilanalisis menunjukkan kalau gambaran Velijan atau Olive dalam novel My NameIs Red tetap sejalan dengan gambaran individu narsisme dalam literatur ilmiah.Velijan Effendi menjadi sosok narsis karena hasil dari kebutuhannya untuk diakui,untuk eksis dalam hidupnya yang tertekan dan menggunakan lukisan-lukisannyasebagai media untuk menyalurkan kebutuhannya tersebut. ABSTRACTThis paper discuss about socio-psychological dimension in paintingspictured in Orhan Pamuk?s novel ?My Name is Red?. The novel shows us fineexamples about how paintings can be a media of painters who lived in arepressive era of Sultan Murat III which established rigid rules adopted fromIslamic principles of how a painting should be done. This idea manifested in thecharacters? behaviour, especially Velijan Effendi, who hold the Islamic or Eastprinciples but dilemmatically fond of Western principles as an aesthetic way ofpainting. This kind of dilemma born from the presence of East and Westprinciples intertwined in Turkey at the era pictured in the novel. Resultsdetermined that Velijan Effendi is narcistic as a result of his needs to beacknowledged and to express his self-manifestation; to be existent in his repressedlife. He uses his paintings as the media of expressing his needs.;This paper discuss about socio-psychological dimension in paintingspictured in Orhan Pamuk?s novel ?My Name is Red?. The novel shows us fineexamples about how paintings can be a media of painters who lived in arepressive era of Sultan Murat III which established rigid rules adopted fromIslamic principles of how a painting should be done. This idea manifested in thecharacters? behaviour, especially Velijan Effendi, who hold the Islamic or Eastprinciples but dilemmatically fond of Western principles as an aesthetic way ofpainting. This kind of dilemma born from the presence of East and Westprinciples intertwined in Turkey at the era pictured in the novel. Resultsdetermined that Velijan Effendi is narcistic as a result of his needs to beacknowledged and to express his self-manifestation; to be existent in his repressedlife. He uses his paintings as the media of expressing his needs.;This paper discuss about socio-psychological dimension in paintingspictured in Orhan Pamuk?s novel ?My Name is Red?. The novel shows us fineexamples about how paintings can be a media of painters who lived in arepressive era of Sultan Murat III which established rigid rules adopted fromIslamic principles of how a painting should be done. This idea manifested in thecharacters? behaviour, especially Velijan Effendi, who hold the Islamic or Eastprinciples but dilemmatically fond of Western principles as an aesthetic way ofpainting. This kind of dilemma born from the presence of East and Westprinciples intertwined in Turkey at the era pictured in the novel. Resultsdetermined that Velijan Effendi is narcistic as a result of his needs to beacknowledged and to express his self-manifestation; to be existent in his repressedlife. He uses his paintings as the media of expressing his needs., This paper discuss about socio-psychological dimension in paintingspictured in Orhan Pamuk’s novel “My Name is Red”. The novel shows us fineexamples about how paintings can be a media of painters who lived in arepressive era of Sultan Murat III which established rigid rules adopted fromIslamic principles of how a painting should be done. This idea manifested in thecharacters’ behaviour, especially Velijan Effendi, who hold the Islamic or Eastprinciples but dilemmatically fond of Western principles as an aesthetic way ofpainting. This kind of dilemma born from the presence of East and Westprinciples intertwined in Turkey at the era pictured in the novel. Resultsdetermined that Velijan Effendi is narcistic as a result of his needs to beacknowledged and to express his self-manifestation; to be existent in his repressedlife. He uses his paintings as the media of expressing his needs.] |
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| Penerbitan : | Depok: Fakultas Ilmu Pengetahuan dan Budaya Universitas Indonesia, 2014 |
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| No. Panggil | No. Barkod | Ketersediaan |
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| MK-Pdf | 10-20-752344989 | TERSEDIA |
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