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The film "Cinta Pertama, Kedua, dan Ketiga" is an Indonesian romantic drama that explores themes of love, family responsibility, and sacrifice. This study aims to analyze the representation of love in the film using Roland Barthes' semiotic approach. The method applied includes analyzing signs, signifiers, and signifieds from several key scenes to uncover both denotative and connotative meanings. The analysis focuses on scenes of dancing, household duties, the giving of a ring, warm colors, a lonely road, separation, and the giving of a birthday gift. The research findings indicate that dancing symbolizes intimacy and freedom, while household scenes represent the burden of emotional responsibility. The ring signifies commitment and family unity, warm colors reflect harmony but also conceal tension, and the lonely road mirrors emotional isolation. Separation and the birthday gift reveal deep sacrifice and enduring memories. In conclusion, the film portrays love not only as a romantic relationship but also as a journey involving personal sacrifice and family responsibility, aligning with Barthes' views on symbolic meaning in visual narratives.

This research uses a qualitative research approach, the main goal of this research is to explain the symbolic meaning of the fishing ritual (equ) carried out by Bajo tribe in Parumaan Village, East Alok District, Sikka Regency. In-depth interviews, documentation, and observation methods are some of the data collection strategies used. Research findings showed that the Bajo tribes carried out a number of ceremonial processes related to fish arrest activities, including rituals before fish arrest, during fish arrest, and after fish arrest. Each ritual procedure has a symbolic meaning that is closely related to customs, beliefs, local people. This symbolic meaning includes showing respect to the Creator, requesting refuge, asking for the results of an abundant catch, and preserving.

This research focuses on the role of the Barikan Tradition in strengthening social solidarity among the community, highlighting how this cultural and religious practice serves as a bond between community members. Additionally, the study aims to explore the religious meanings embedded in the Barikan Tradition from the local community's perspective, as well as its influence on the formation of collective identity. A qualitative approach using ethnographic methods was employed to deeply examine the religious meanings and functions of the Barikan Tradition and its social impact on the community. The findings indicate that the Barikan Tradition is understood as an effort to maintain balance between the spiritual and material worlds, between traditional values and the demands of modernization. This tradition plays a significant role in reinforcing social solidarity, preserving collective identity, and helping the community adapt to social changes. Furthermore, the Barikan Tradition reflects religious syncretism, where a fusion of local beliefs with religion occurs. As a religious rite passed down through generations, Barikan not only functions as a symbolic ritual but also as a reflection of spirituality and community values. In the context of the sociology of religion, this tradition plays an important role in strengthening collective consciousness and preserving religious values amid the challenges of globalization and modernization.

Describing real, imaginary, and symbolic analysis in Miracle in Cell No. 7 using Jacques Lacan's psychoanalytic theory was the goal of this research. The research method used is qualitative descriptive. The instrument used is the documentation of the film. Data collection techniques are used to study libraries, recording and recording techniques that cover scenes, clips, durations, and setting aspects. Data analysis techniques are performed consisting of reducing data that emerges from the records of research objects, displaying data in the form of narratives, and verification by drawing conclusions. The results of the research showed that in the real phase, the visible protagonist showed deep affection for his daughter, depicting a warm father-child relationship. The imaginary phase, which marks the child's self-identification process through the mirror phase where unfulfilled desires can lead to a feeling of separation from parents that shows the great hope of parents for their daughters to be successful and happy. This dream shows Dodo's great desire for his family and the imaginative attraction to find meaning and purpose in a difficult life.

Tebing Tinggi is experiencing rapid development, with the youth population becoming an important asset because they will be the next generation in shaping the quality of life in the future. This study aims to design a youth center that can be a place for recreation and develop talent interests through various activities for teenagers so they can grow in a positive and healthy environment both indoors and outdoors. The research method used is a quantitative approach, where a survey is carried out using a questionnaire and also concept exploration by collecting information which includes a literature review and analysis of related case studies. Next, the collected data is analyzed to produce a design concept. The theme raised is metaphorical architecture to create architecture that symbolizes inspiration, creativity and collaborative growth with teenagers. The research results found that the design aspect involved the use of symbols and creative elements that convey messages, as well as paying attention to symbolic meanings that could inspire teenagers. Symbolic principles communicate positive messages, provide unique experiences, and allow for flexibility in the use of space. Symbolic architecture is applied through the metaphor of nerve cells, with the concept of togetherness and unity where the building and outdoor space are connected to each other, thereby optimizing outdoor space to avoid negative space and creating connections for visitors. The nerve cell metaphor is applied to the shape of the building which can be seen through the facade and bird's eye view with the presence of a plaza in the site plan and easy access to reach the entire building with the pavement around the site. Apart from that, transparent material is also an architectural element that is used to create a connected visual impression.

This study aims to explore the symbolic meaning of life in local wisdom with a focus on farming families in Setupatok Mundu Cirebon. Researchers explored this study using qualitative research, through a non-participatory observation approach. The results showed that life in a symbolic context is defined as the way they interact with the outdoors as a form of adjustment to fulfill their needs. Elements of local wisdom are also emphasized through the habitual patterns of Setupatok farmers in the use of their agricultural system which relies on traditional tools. By enjoying the crops owned by farming families, this research symbolically interprets life in the outdoors. This research provides a comprehensive understanding of symbolic interaction, defining symbolic interaction as our attempt to understand human behavior based on their own point of view.

This research explores the representation of fear in the context of leaving Batak culture as depicted in the film "Ngeri-Ngeri Sedap". Through a content analysis approach, this study investigates how the fear associated with leaving cultural identity is reflected in the narrative, visuals, and characters in the film. Qualitative methods are used to analyze various film elements, including dialogue, plot, setting, and cultural symbolism. The findings indicate that the film portrays the complexity of fear experienced by individuals confronted with the conflict between tradition and modernity. These representations provide insights into the cultural dynamics within Batak society and their implications for individual identity. The study contributes to understanding how fear is associated with cultural change and how it is reflected using Roland Barthes' semiotic analysis framework. The goal of this study is to use Roland Barthes' semiotic analysis method to uncover the moral lessons that are subtly conveyed in films.  The study uses qualitative descriptive methodologies and centers on specific cinema moments.  While connotation is investigated to uncover the hidden meaning behind these indicators, denotation is used to identify signs as they seem on the surface.  Myth analysis is another method used in this research to find concepts that are implied by the movie's plot.  Through the use of Roland Barthes' semiotic approach, the study unveils "Ngeri-Ngeri Sedap"'s intricate and multilayered narrative structure. The research findings offer profound insights into the ways in which the film uses verbal and visual cues to convey moral lessons to its audience.  This study enhances our knowledge of semiotic analysis in the context of film by shedding light on symbolic representations and hidden messages in audiovisual art.

The musical instruments in Dolalak dance; jidur, terbang, and kendhang, have become the main subject in the attempt to understand the essence flowing within each musical call and dance vibration. The presence of these instruments is not merely as accompaniment, but rather imbues the space with profound meaning. Questions arise: Why were these instruments chosen? Are they related to cultural values or hidden beliefs? This research is structured with a descriptive qualitative approach. The use of jidur, terbang, and kendhang musical instruments in Dolalak dance in Purworejo goes beyond mere musical elements and physical movements. In this understanding, through Roland Barthes' conception of signifier and signified, it opens the way to delve into deeper meanings and symbolism inherent in each musical instrument. Every beat on jidur, terbang strike, or kendhang resonance not only produces sound but also carries messages containing cultural values, history, and the cultural identity of the Purworejo community.

This research aims to uncover the symbolic meaning of stupas placed in front of houses of Buddhist communities affiliated with Vihara Mahanama in Semanding Village, Central Java. Stupas as architectural and symbolic elements hold important positions in religious practice and cultural identity of local Buddhist communities. This study employs a qualitative approach using case study methods with ethnographic perspectives. Data collection techniques include field observations, in-depth interviews with Buddhist communities and vihara leaders, and visual documentation. Data were analyzed descriptively-interpretively using symbolic anthropology frameworks and semiotic architecture theory to reveal symbolic meanings contained in the form, placement, and social function of stupas in daily life. The results show that stupas are not merely religious ornaments, but represent multiple layers of meaning: spiritual values, cosmic symbolism, protection, and markers of Buddhist cultural identity in predominantly non-Buddhist environments. Stupa symbolism also reflects processes of cultural adaptation and spirituality rooted in the social dynamics of the Semanding Village community. This research contributes to understanding the integration of Buddhist symbols in contemporary Indonesian society and their role in maintaining religious identity in multicultural contexts, while also providing insights into the domestication of sacred symbols in everyday spaces.

Baritan is one of the traditions of an agricultural community that has been passed down from generation to generation in Rowosari Village, Kendal Regency. This tradition is carried out as a form of gratitude to God for the abundance of harvests and blessings received by the community. The commemoration of the night of One Syuro is an important moment in the implementation of Baritan, where people pray together and give offerings as a form of gratitude and hope that life will remain prosperous and avoid danger. Through this procession, Baritan not only functions as a religious ritual, but also strengthens social relations between residents. This ritual creates a close connection between the spiritual life, culture and social solidarity of the Rowosari Village community.

This study explores the semantic dimensions and symbolic meanings found in Buddhist religious texts by applying a hermeneutic analysis to the concept of dukkha in the Dhammacakkappavattana Sutta. Commonly translated as suffering, dukkha carries broader existential implications, such as dissatisfaction, impermanence, and the inherent unsatisfactory nature of existence. Employing a qualitative hermeneutic approach combined with semantic and semiotic analysis, the research identifies three interconnected layers of meaning within dukkha: the literal level, referring to physical and mental suffering; the contextual level, which reflects the human existential condition; and the spiritual level, where dukkha becomes a gateway toward liberation. The results indicate that a nuanced understanding of the semantic richness of dukkha is crucial for a deeper comprehension of the Four Noble Truths as the core framework of Buddhist doctrine. This study contributes to interdisciplinary discourse among linguistics, religious studies, and Buddhist practice, emphasizing that sacred language functions not only to convey doctrine but also to encourage inner reflection and spiritual transformation.

Can Macanan Kaddhuk is a traditional art typical of the Jember region, East Java. The creation of this art has become the sole meaning of Jember culture, which has its own story and has gained public legitimacy for this local culture. Events exist from the founder's subjective composition which continues to be passed down to legitimize society. This art also characterizes itself as an acculturation of several cultures around its region. So, it is very interesting that the presence of its founder at the beginning of the emergence of social culture made the beliefs dominant among each group. Moreover, the development of this culture has a very unique style, representing every art activist's interpretation. The expression of symbolic meaning and aesthetic value in the art of Can Macanan Kaddhuk requires encouragement in the post-modern world in terms of art, so the research uses a qualitative approach with appropriate methods. The results of this research show that it is not only focused on its function, namely as entertainment, but is intended as a medium for conveying the moral and spiritual messages contained therein.

This research aims to analyze the lexical and connotative meanings in Indonesian, with a focus on the use of words in the pantun by Dr. Tenas Effendy. In this research, lexical meaning analysis was carried out using qualitative descriptive methods, with data collection techniques in the form of expansion techniques carried out by expanding the lingual units in question using certain elements. The expansion technique is useful for determining the meaning aspect (semantic aspect) of certain lingual units. The research results show that Dr. Tenas Effendy contains lexical meanings related to concepts such as advice, tradition and life. This lexical meaning is found through analysis of the meaning of the text and the meaning of the pantun context. The meaning of the context in question is in the form of symbolic meaning, namely the meaning contained outside the text and related to the context of the event when the pantun is sung. The conclusion of this research is that Dr. Tenas Effendy has a lexical meaning related to concepts related to life and tradition, as well as a connotative meaning related to symbolism and the context of the event.

This research aims to analyze the semiotic aspects in the architecture of Pagaruyung Palace, focusing on the symbolism, acculturation, and historical aesthetics contained in the building. Pagaruyung Palace, as one of the Minangkabau cultural heritages, not only serves as the residence of the king, but also as a place for the expression of cultural, social and political values of the Minangkabau people. Through a semiotic approach, this research examines the architectural elements of Pagaruyung Palace, such as the shape of the gonjong roof, the building structure, and the ornaments contained therein, which hold deep symbolic meanings. Furthermore, this research also explores the acculturation process that occurred in the architectural design, where the influence of various cultures, such as Malay, Hindu-Buddhist and Islamic, is reflected in the architectural elements. The aesthetic aspects arising from the fusion of these cultural elements are also analyzed to understand how the architecture of Pagaruyung Palace creates harmony between function and beauty. This research is expected to provide deeper insights into the relationship between architecture, culture, and history and its outcomes.

As one of Indonesia's cultural heritage recognized by UNESCO, the Kawung motif holds a wealth of deep aesthetic, philosophical, and symbolic values. Studies on the geometric forms and patterns in the Kawung motif not only offer a better understanding of cultural heritage, but also open up opportunities to explore the relationship between art, mathematics, and philosophy. This research aims to explore the geometric forms and patterns in the Kawung motif in depth, by integrating perspectives from art, mathematics, and philosophy. By analyzing the geometric structure and mathematical principles underlying this motif, as well as relating them to the symbolic and philosophical meanings contained within, it is expected to gain a more holistic understanding of Indonesia's cultural heritage and the intellectual wealth it possesses.

. In Indonesia, there are various cultures and traditions, making Indonesia a beautiful country with traditions and culture. Nyekar is a tradition in Indonesia and is often practiced by Indonesian people, especially Javanese people. Nyekar is an activity of sowing flowers accompanied by prayer, tahlil, and some verses from the Koran. This nyekar tradition is generally carried out by people before Ramadhan. In this research the aim is to find out the meaning and tradition of nyekar through a philological approach in Islamic studies. In this research the researcher used library research with a descriptive qualitative approach. However, the main problem in this research is still based on the empirical answers found in this research. The results of this research are analyzing the nyekar tradition from several aspects through reviewing the philological approach to Islamic studies. The following aspects are analyzed: 1) Ancient Islamic texts. 2) The tradition of visiting graves. 3) Prayer for the deceased. In the nyekar tradition itself, it has very long historical roots and is rich in symbolic meaning. Therefore, the philological review carried out by this researcher is to make it easier to understand the origins, meaning or cultural values ​​contained in these nyekar activities.

Lingual or language is an integral part of the cultural expression of a society, is used as a means of communicating values, beliefs and customs, has an important social function and fosters a sense of group identity and solidarity. Traditional Balinese snacks for the Cemagi Village society are not just food but also have an important role as a means of traditional ceremonies. A linguistic anthropology approach was used by researchers to reveal the culture of the Cemagi people, in the process of inheriting and passing on the role of traditional snacks in their beliefs as Hindus. It is hoped that the role of traditional snacks can be learned, inherited, passed on from one generation to the next, through actions in the form of face-to-face interactions, and of course through linguistic communication, both verbal and non-verbal. -verbal form. The proposed research is to find out how traditional food exists and to know the lexicon of traditional snacks and their meaning in a traditional ceremony. There were 12 lexicons found in this first research and explained in terms of processing processes and fields of meaning in the beliefs of the Cemagi society. Traditional snacks are used as the main filling material and function as a means in traditional ceremonial processions. Traditional snacks are symbolic and expressive, both in terms of shape, ingredients and taste.

This study examines the symbolic meanings in the Dhammapada text through a simple semantic approach. Many Buddhists understand the Dhammapada only literally, without exploring the deeper symbolic meanings intended to transform character and behavior. This research uses a descriptive qualitative method by analyzing ten selected verses from the Dhammapada, comparing their literal meanings (denotative) with symbolic meanings (connotative). The findings show that each verse in the Dhammapada contains moral wisdom that can be applied in daily life. For example, the metaphor of light represents wisdom, darkness represents ignorance, and the middle path represents balance in life. These findings have practical implications for Buddhist character education, where understanding symbolic meanings helps students internalize moral values more deeply than merely memorizing texts.

This article examines the semantic meaning in the Prajñāpāramitā Hṛdaya Sūtra (Heart Sūtra), one of the important sūtras in the Mahāyāna Buddhist tradition. Using a qualitative approach, this article integrates semantic and hermeneutical theories to understand the structure of meaning, symbolism, and interpretation contained in the text. The analysis focuses on key words such as śūnyatā (emptiness), negation structures, and closing mantras as symbolic forms towards enlightenment. The study employs close reading methodology combined with semantic field theory, polysemy analysis, and apophatic language frameworks. The results show that a semantic approach deepens the understanding of Buddha's teachings and their relevance in spiritual practice. This article also highlights how meaning in the text is not only linguistic, but also existential and contemplative, demonstrating that religious language in Mahāyāna functions as metalanguage pointing beyond conceptual understanding.

This research is a historical research method, it is based on efforts to describe past events. This research also uses library-research (library research) trying to obtain complete information regarding the research topic, directing data issues and analysis sourced from library literature. The results of the research show that: First, there is a decline in the meaning of the idea of ​​function contained in rhymes and dances. The message is not conveyed well, because the function of rhymes and dances has shifted from conveying symbolic messages to just being for entertainment. Likewise, the procession is complicated, long, and the additional costs are one of the reasons the Deli Malay community is starting to stop using this culture. In the past, rhymes that were advice in nature were sometimes made humorous, this shifted the sacred nature of rhymes. The openness of the Deli Malay community has adjusted to market tastes.