Theorizing the Selves: Hip-Hop and Subjectivity among Ambonese Youth

This article is based on the reality that places women in a position where they can only hold meaning within the narrative of men. Women are written by men, and in doing so, women are structured as objects in writing. In the history of literary writing, female writers have been overlooked and
objectified by the dominance of hegemonic masculine narratives. The male characters portrayed by male writers tend to depict figures that are heroic, strong, tough, rational, and decisive. Women are portrayed as figures who are irrational, weak, and always reliant on emotions. These narratives continue to evolve and be reproduced. Dian Nangin, a Karo woman writer, is striving to overturn that
dominance. The short stories depict men who are far from the dominating hegemony of masculinity. In her short stories, male characters are depicted as having deep feelings, being easily doubtful, and being sensitive to the situations
of others. The purpose of this article is 1) to analyze the narratives of women in the short stories Rencana Bunuh Diri dan Buku-buku, Kaki Sewarna Tanah, and Teman Hidup by Dian Nangin. 2) Analyzing the image of a good man in the short
stories Rencana Bunuh Diri dan Buku-buku, Kaki Sewarna Tanah, and Teman Hidup by Dian Nangin. This research uses the theory of Écriture Féminine by Hélène Cixous. This research is an analytical qualitative study using a deep
reading method of literary texts. The research findings indicate that the short stories of Dian Nangin present female narratives drawn from her own experiences as a woman living in Karo culture. Dian Nangin portrays the relationship between men and women differently from the masculine dominance that has traditionally bound them. The male character is portrayed as someone far removed from the
hegemony of masculinity. He is depicted as a sensitive man, someone who struggles to make decisions, poetic, and willing to yield.