PERUBAHAN KONDISI PASIF KE KONDISI AKTIF TOKOH UTAMA PEREMPUAN DALAM DONGENG "DER RÄUBERBRÄUTIGAM" KARYA BRÜDER GRIMM

Abstract

This article examines the forms of patriarchal oppression and the agency of the female protagonist in the Grimm fairy tale Der Räuberbräutigam. Unlike previous studies that emphasize this tale's representation of gendered violence and survival, this study focuses on how the protagonist's agency unfolds gradually across five existential stages, moving from a passive condition to an active one. Data were collected through observation and note-taking techniques applied to the German source text, followed by data coding. Forms of oppression were analyzed using Kate Millett's (1970) view of patriarchy as a system of power, while agency was analyzed using Simone de Beauvoir's (1956) existentialist feminism, encompassing the condition of immanence, three stages of agency (awareness, strategy, action), and the condition of transcendence. The results show five instances of patriarchal oppression, consisting of body objectification, physical oppression, structural oppression, domestic marginalization, and psychological oppression, imposed on the protagonist by two male authority figures, her father and her fiancé. Furthermore, ten instances of agency were identified, showing that the protagonist's awareness develops progressively from intuitive fear into a fully conscious understanding of danger, followed by four collaborative strategies, two concrete actions, and culminating in transcendence when she publicly exposes her fiancé's crime at his own wedding feast. These findings demonstrate that although the protagonist is bound within an oppressive patriarchal structure, she is able to transform herself gradually into an active subject who reclaims authority over her own fate through awareness, cunning, and courage rather than through direct physical confrontation.

Keywords: Grimm's fairy tale, Der Räuberbräutigam, patriarchal oppression, female agency, existentialist feminism

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