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Rekonstruksi dan Manipulasi Simbol Kecantikan
Abstract
Setiap wanita pastinya bermimpi memiliki kecantikan yang dapat diagung-agungkan oleh kaum adam. Hanya saja saat ini makna kecantikan alami seolah terhapus oleh iklan-iklan kapitalis. Cantik itu putih, rambut lurus, bermata lebar, berhidung mancung, dan lain sebagainya. Hal ini menyebabkan para wanita berlomba-lomba mengubah apa yang sudah dianugerahkan oleh Tuhan. Konstruksi makna dan simbol kecantikan tidak begitu saja diterima oleh masyarakat. Harus ada proses-proses yang dilewatinya. Berger mengatakan bahwa ada tiga proses, yaitu : 1) proses eksternalisasi yang menjadi bagian dari proses penciptaan realitas dalam berbagai bentuk. 2) Proses objektivasi yang merupakan proses integrasi nilai ke dalam fakta sosial objektif yang dapat diterima oleh publik. 3) Proses konstruksi terkait dengan proses internalisasi yang merupakan tahapan untuk menjadikan pengetahuan, nilai dan tindakan menjadi milik individu yang melahirkan komitmen sikap dan perilaku individual (Berger dan Luckmann, 1979). Konstruksi besar ini secara tidak langsung disepakati oleh industri-industri kecantikan seluruh dunia.
... Seperti yang dikatakan oleh Abdullah bahwa sebenarnya tubuh manusia awalnya adalah tubuh alami tetapi kemudian mulai bergeser menjadi tubuh sosial atau fakta sosial (Abdullah, 2006). Tubuh sosial atau fakta sosial bisa dipahami sebagai tubuh seorang individu adalah cerminan atau tuntutan dari tubuh yang diidam-idamkan masyarakat pada umumnya (Sari, 2019). ...
... Wiasti memaparkan bahwa pada mulanya masyarakat Indonesia tidak memiliki orientasi makna kecantikan pada kulit putih tetapi lebih kepada kulit kuning langsat (Sari, 2019). Melalui produkproduk kecantikan yang populer pada zaman itu, berkulit kuning langsat adalah impian seluruh wanita Indonesia. ...
... Menurut Michael Argyle dan Lanet Dean (Monica, 2020) mengemukakan suatu teori komunikasi nonverbal yang didasarkan pada suatu metafora keintimanequilibrium, bahwa setiap kali kita berinteraksi kita mengalami atau menggunakan seluruh saluran komunikasi yang ada, dan suatu perubahan dalam suatu saluran nonverbal akan menghasilkan perubahan pada saluran komunikasi yang ada dan suatu perubahan dalam suatu saluran nonverbal akan menghasilkan perubahan pada saluran lainnya sebagai kompensasi, misalnya pendekatan dan penghindaran. Kusuma Jaya (Sari, 2019) mengatakan bahwa kecantikan itu pada hakikatnya adalah kemampuan tampil menarik secara keseluruhan, bukan bagian per bagian. Hal ini senada dengan (Hapsari & Sukardani, 2018) (Wiasti, 2012) bahwa kecantikan adalah total, mencakup ukuran-ukuran tubuh (fisik), dan mental atau kepribadian (inner beauty) dengan ukuran standar pula, sehingga secara keseluruhan melahirkan kecantikan sejati. ...
The existence of social media allows the emergence of social media influencers where in turn they have an impact on social media users. This can happen by bringing up new messages or raising issues about a particular subject. One of them is the topic of the concept of beauty and its relation to self-confidence. Moreover, with the existence of social media influencers who carry out information dissemination activities by compiling and creating content related to the concept of beauty and its relation to self-confidence. By using persuasive narratives, social media influencers build different beauty concepts that can even be contrary to concepts that have been developing in society. The purpose of writing this research is focused on providing an understanding to the wider community, about the narratives used by social media influencers in persuading and penetrating new messages to the public, especially with regard to the concept of ideal beauty related to hairstyles. Through the method of qualitative content analysis techniques to observe the messages conveyed by social media influencers, related to a number of important aspects. The use of qualitative content analysis allows the writer to see the content of the message more deeply, through understanding the meaning of the message.
The purpose of this research is to explain how mechanism of construction about woman in cosmetic product Youtube advertisement.This research used constructivist paradigm Semiotics Model of Roland Barthes as its visual analysis method. There were three main findings of this research (1) Denotation of this ads is to innsipe Indonesia woman to o dare to explore with the color of the makeup on their faces to become as beautiful as Sumba Island; (2) Connotation of this advertisement further emphasizes racial inequality in the Indonesian cosmetic market, where only women of the Mongoloid and Austronesian race who are categorized as beautiful use makeup and become the main commodity target of the cosmetics market, not the Melanesian race; (3) The myth that develops among Indonesian women in physical beauty is meant by accentuating white skin, slim body, having a tall posture, having long beautiful hair, sharp nose, sensual lips, and so on has grown into the social reality of women in Indonesia.
Mass media is not only a channel to deliver messages but also is a channel to build a special image about the world, such as the beauty image of women. Advertisements create it in their messages. Most of them show women with white skin, slim and have long black hair. These cases are a part of popular culture or mass culture because it could be a homogen-standard value. Advertising is related with popular culture. Advertising is a reflection of popular culture and it is an inventor of popular culture.
Although researchers have conceptualized beauty as unidimensional, modern-day cultural definitions of beauty are multidimensional. This paper focuses on two forms of mass media that play an important role in transmitting information about multiple and diverse cultural ideals of beauty—fashion magazine advertising and music videos shown on music television. We examine the overall prevalence of different beauty ideals and how these are distributed across specific vehicles within each medium. We also compare the emphasis placed on different ideals of beauty across these two communications media (print vs. television) and formats (advertising vs. entertainment). The implications of the findings for understanding the cultural construction of beauty ideals and for understanding how advertising and other mass media communications contribute to them are discussed. Several extensions of the present research are proposed.
Dove, a popular beauty brand, impressed some in the advertising world with its unique “Campaign for Real Beauty” and made others cringe. But little is known about how real women respond. “Real” beauty according to Dove means various shapes and sizes—flaws and all—and is the key to rebranding, rebuilding women's self-esteem, and redefining beauty standards. Drawing on interviews and focus groups with sixteen Canadian women and guided by social semiotics and dramaturgy, I examine Dove's presentation of beauty and women's reactions to it from a “beauty as performance” frame. This study examines processes of interpretation and finds that expressing beauty, the self, and a public image inextricably requires elements of performance.
Eighteenth-Century Studies 35.3 (2002) 361-378
Literary study may currently appear to be invested in a reexamination and revaluation of the aesthetic. The reasons for such a renewed interest in beauty and its kin equally may seem obvious from some perspectives. One narrative posits that aesthetics is the late-twentieth-century answer to ideology, a can't-we-all-get-along response to the perceived fracturing of the academy brought about by ideological and critical conflict. Such an approach, though satisfying in the way of all neat reductions, is only about as accurate as one might expect; it is, like many a Victorian heroine, no better than it should be. In some cases, this explanation may be correct, but a turn to aesthetics can be differently explained and holds different value for critics who recall the powerful role aesthetics plays in Enlightenment philosophy, a legacy whose revision was at the heart of the critical theory of Jauss, Lyotard, Foucault, and their followers. The response in the 1990s to the barely accessible complexities of such theory has been, at its best, to resituate literary criticism, to integrate theoretical acuity within accessible writing about art and culture. In the drive to bring theory and practice closer together, the aesthetic, as a theory of the relationships between readers and texts, raises compelling interest. Hand in hand in recent years with a turn to history, the discontinuities and processes through which texts and meaning are made, we find a turn to beauty, a mode of sensibility through which texts enter into and change the worlds of the people who read them. But the return to the aesthetic, like the return to history, raises significant questions about how literary studies as a discipline is constituted, and at the core of the conflicts surrounding turns to aesthetics-- both in the eighteenth century and at the start of the twenty-first -- are problems of labor and meaning.
Recent work by critics like Elaine Scarry has made bold and intelligent statements about the potential of the aesthetic, but in turning to aesthetic theory, many contemporary critics tend to reenact the melding of categories at the heart of the emergence of eighteenth-century British aesthetics: aesthetic experience and aesthetic inquiry are compressed and frequently conflated, and aesthetic inquiry is, in turn, all but replaced by ethics or hermeneutics. This pattern is in part the result of giving precedence to the Shaftesburian tradition of aesthetic theory. As Ronald Paulson points out, most literary study of the aesthetic proceeds from Shaftesburian assumptions and suppresses or ignores the serious challenges offered to this strain within the eighteenth century by "less respectable" thinkers like Hogarth. This essay sketches a pattern common to ethical and hermeneutic approaches to the aesthetic both then and now, examining the reasons aesthetics tends to become an appealing object of contemporary theory-as-hermeneutics and a de facto domain within the larger field of ethics. In opposition to this tradition, I bring together works by Hogarth, Swift, and Proust -- an unlikely grouping, perhaps -- in order to explore what happens when the temptations of hermeneutic and ethical approaches to the aesthetic are held, even briefly, at bay. The pressing questions are those of discipline. First, if aesthetics matters, what does aesthetic inquiry produce that no other form of questioning can? And second, what role might both the question and its answers play in current reformulations of literary study?
The merging of aesthetic inquiry with ethics or hermeneutics has its most explicit statement in the eighteenth century and is reinforced by late-twentieth-century critique. Major texts in the early years of British and continental aesthetics tend to emerge as answers to problems that on the surface do not concern the aesthetic at all. The theories of aesthetics promoted early in the century by Shaftesbury or Hutcheson are, in large part, a response to the perceived moral crudity and inadequacy of Hobbesian philosophy. Smith's Theory of Moral Sentiments (1759) undertakes to resolve the foundations of both public and private virtue as a rebuttal of "licentious systems" like Mandeville's utilitarian approach to vice (and simultaneously provides the framework by which a capitalist economy can be made a civil...
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