Representation of Masculinity in Fadel Chaker’s Songs: A Barthesian Semiotic Analysis

Abstract

This study encompasses several areas of inquiry, one of which is Roland Barthes’ semiotic analysis. Therefore, this study aims to analyze the denotative, connotative, and mythical meanings in representing subordinated masculinity and complicit masculinity in the song lyrics of Law Ala Qolbi and Ya Hayatirruh by Fadel Chaker based on Roland Barthes’ semiotic theory and Raewyn Connell’s perspective on masculinity. The study was conducted using the lyrics of the two songs as the research object, with data collection and analysis. The research data consisted of words, phrases, clauses, and expressions in the lyrics that represent masculinity, while the units of analysis were purposively selected according to the research focus. The researcher served as the primary research instrument, supported by a data classification sheet. Data were analyzed using a descriptive-interpretative method through Roland Barthes’ three levels of signification: denotation, connotation, and myth, with reference to Raewyn Connell’s masculinity theory. The findings reveal that the two songs represent two forms of masculinity, namely subordinated masculinity and complicit masculinity. At the denotative level, masculinity is represented through expressions of love, longing, loyalty, sacrifice, and commitment to one’s partner. At the connotative level, these representations portray men who are willing to express their emotions, build emotional intimacy, and demonstrate responsibility in relationships. At the mythical level, the songs construct the view that masculinity is not solely defined by dominance and emotional restraint, but also by sincerity, commitment, willingness to sacrifice, and the ability to express affection. The findings indicate that the representation of masculinity in the two songs constructs a more humanistic, expressive, and relational form of masculinity compared to hegemonic masculinity.