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This study aims to evaluate the influence of price perception, product quality, and brand image on purchasing decisions for Ortuseight sports shoes in Semarang City. The research is motivated by the growing competition within the local footwear industry and the evolving consumer behavior that now considers not only functional aspects but also symbolic and emotional values of products. A quantitative approach was employed, using a survey method through the distribution of questionnaires to 150 respondents who had either purchased or shown interest in Ortuseight products. The data were analyzed using multiple linear regression to determine the impact of each independent variable on the dependent variable. The findings reveal that price perception, product quality, and brand image all have a significant and positive effect on purchase decisions. Consumers tend to assess the balance between price and product benefits, evaluate quality based on specifications and durability, and are influenced by brand reputation when making choices. These results highlight the importance for companies to maintain a balance between pricing and quality, while also strengthening brand image—not only in terms of corporate reputation but also in how the product is perceived. This research is expected to offer strategic insights for marketing policy development and serve as a reference for future studies.

Social media has transformed communication patterns, with TikTok emerging as a platform where interactions are highly expressive and multimodal. This study examines the role of emojis as politeness strategies in the comments section of TikTok influencers, focusing on how these visual symbols help maintain harmonious digital communication. Using a qualitative descriptive approach, the researchers analyzed 20 emoji-containing comments from a high-engagement influencer video. The data were interpreted through Brown and Levinson’s (1987) politeness theory, supplemented by the concept of multimodality. The findings indicate that emojis significantly support both positive and negative politeness strategies. Positive politeness was dominant (around 70%), often realized through empathy, humor, and solidarity-building emojis, while negative politeness was achieved through hedging, apologies, and respectful cues. Emojis also frequently softened bald-on-record statements and enabled off-record indirectness. The study concludes that emojis are crucial in enhancing politeness, enriching emotional expression, and fostering a sense of community in TikTok interactions, highlighting their importance in the evolving landscape of digital sociolinguistics.

This study aims to obtain empirical evidence regarding the effect of Environmental, Social, and Governance (ESG) disclosure on firm value. The research sample was obtained using purposive sampling on mining firms listed on the Indonesia Stock Exchange (IDX) during the 2020–2023 period, with a total of 102 observations. Data analysis was conducted using panel data regression to test the proposed hypotheses. The results show that environmental disclosure has a significant positive effect on firm value, while social and governance disclosure have a significant negative effect. The theoretical implication of this study refers to agency theory, which asserts that information transparency through ESG can reduce information asymmetry between management and shareholders. However, if disclosure is carried out merely as a formality or symbolic practice, it may instead generate agency costs that are detrimental to the firm. In addition, these findings are also relevant to signaling theory, in which environmental disclosure can serve as a positive signal of a firm’s commitment to sustainability practices, thereby enhancing investor trust and strengthening the firm’s reputation. Practically, this study contributes to providing a more comprehensive understanding for firms, management, investors, and other stakeholders, while also serving as a reference for future research on ESG and firm value.

This community engagement activity aims to introduce and promote Es Pisang Ijo, a traditional culinary delight from Makassar, to the mothers of Aisyiyah Ranting Suterejo in Surabaya. The program was implemented through the National KKN-Dik collaboration between Universitas Muhammadiyah Makassar and Universitas Muhammadiyah Surabaya. The method applied was a field study involving several stages—explanation, demonstration, and direct hands-on practice. The activity received a highly positive response, as participants were actively involved in every phase, showing enthusiasm and curiosity. The outcomes of this activity include improved culinary skills, strengthened cultural awareness, and the creation of new opportunities for micro-enterprise development rooted in traditional cuisine. Additionally, this program enhanced cross-cultural communication and strengthened social solidarity among Aisyiyah members. Es Pisang Ijo thus represents not only a dessert but also a symbol of togetherness, women’s empowerment, and cultural preservation. This initiative reaffirms Aisyiyah’s role as an empowered women’s community that contributes to economic independence and cultural resilience through traditional culinary innovation as a medium of empowerment and community development.

This research examines the role of Pura Siwa Jagat Karana as the orientation center of the Balinese Hindu community in Ternate City, functioning not only as a place of worship but also as a hub for social and cultural activities. The study aims to describe the role of Pura Siwa Jagat Karana in the religious, social, and cultural life of the Balinese Hindu community and to analyze the challenges faced in sustaining its existence within a multicultural society. The research employs Emile Durkheim’s Structural Functionalism theory, emphasizing the role of religious institutions in maintaining social integration. A qualitative approach was applied, using observation, in-depth interviews, and documentation. The findings reveal that Pura Siwa Jagat Karana functions as a spiritual center, a medium for preserving Balinese culture, and a means of strengthening solidarity and identity of the Balinese Hindu community. Nevertheless, the temple faces several challenges, including limited accessibility for worshippers, changes in management, insufficient ritual facilities, dynamics in priest leadership, and constrained resources. Despite these obstacles, the temple continues to serve as a symbol of harmony and a space for interfaith dialogue that fosters peace in the heterogeneous society of Ternate.

The poem “Mayat Politik Ditutupi Koran Pagi” by Afrizal Malna presents sharp social and political criticism through the use of irony and complex metaphors. This study aims to examine how these two linguistic devices are employed to reveal the socio-political realities of post-reform Indonesia. Using a stylistic approach, the research explores the forms, functions, and meanings of irony and metaphor that appear within the poem’s structure. The analysis shows that irony serves to express dissatisfaction and satire toward political conditions that appear orderly but are actually filled with deception and manipulation. Meanwhile, metaphor provides a symbolic depiction of the role of mass media as an instrument of power that conceals the true political reality behind public discourse. Through the interplay of these two stylistic elements, Afrizal Malna succeeds in presenting a poetic representation of society’s anxiety over media domination and the blurring line between truth and political interest. This study is expected to enhance the understanding of literature’s role as a reflective and critical medium in uncovering the relationship between language, power, and ideology within Indonesia’s socio-political dynamics.

This research examines the role of Pura Siwa Jagat Karana as the orientation center of the Balinese Hindu community in Ternate City, functioning not only as a place of worship but also as a hub for social and cultural activities. The study aims to describe the role of Pura Siwa Jagat Karana in the religious, social, and cultural life of the Balinese Hindu community and to analyze the challenges faced in sustaining its existence within a multicultural society. The research employs Emile Durkheim’s Structural Functionalism theory, emphasizing the role of religious institutions in maintaining social integration. A qualitative approach was applied, using observation, in-depth interviews, and documentation. The findings reveal that Pura Siwa Jagat Karana functions as a spiritual center, a medium for preserving Balinese culture, and a means of strengthening solidarity and identity of the Balinese Hindu community. Nevertheless, the temple faces several challenges, including limited accessibility for worshippers, changes in management, insufficient ritual facilities, dynamics in priest leadership, and constrained resources. Despite these obstacles, the temple continues to serve as a symbol of harmony and a space for interfaith dialogue that fosters peace in the heterogeneous society of Ternate.

The sulang-sulang hariapan tradition is a significant cultural heritage of the Batak Toba community that embodies values of love, respect for elders, family reconciliation, equitable inheritance distribution, and leadership regeneration. The ritual is traditionally performed by offering food to parents who have reached the status of saur matua, symbolizing gratitude and respect. It is also accompanied by requests for blessings, advice, and public acknowledgment of mistakes, thus fostering peace, forgiveness, and social harmony within the community. However, in contemporary practice, the meaning of this tradition has gradually shifted toward a more formalized ceremony that emphasizes social status rather than its original spiritual and communal values. This study employs descriptive qualitative methods, combining field research with theological reflection, to examine how the values inherent in sulang-sulang hariapan can be understood in the light of the Gospel. The findings indicate that the tradition has profound potential to serve as a contextual medium for Christian faith expression. Therefore, it is crucial to revitalize its theological meaning so that the tradition remains relevant and transformative in strengthening family bonds and nurturing leadership in the modern era.

This study examines the utilization of haiku as a form of response to postwar trauma through Kaneko Tota’s and Saito Sanki’s war-themed haiku. Following Japan’s defeat in World War II in 1945, a cultural shift occurred marked by transformation within traditional arts, particularly haiku, which became a significant medium for expressing traumatic historical and social experiences. Although both poets used haiku as a medium to express dissatisfaction and critique the socio-political conditions of the postwar period, they represented different generations and approaches in responding to postwar trauma. Saito, having directly experienced the trauma of war, developed a deconstructive strategy towards traditional haiku conventions. Meanwhile, Kaneko, belonging to the postwar generation, adopted a more radical approach in formal and semantic experimentation. These dual strategies not only embodied individual artistic responses to trauma but also contributed to a broader cultural project aimed at reconstructing Japan’s collective identity in the postwar era. Yuri Lotman’s cultural semiotics framework is employed to analyze the semiotic transformation dynamics in the poets' works. Lotman’s theory, with its key concepts of semiosphere, cultural text, and translation mechanisms, offers a comprehensive analytical tool for understanding the dynamics of sign systems and cultural meanings in World War II-themed haiku. From the analysis of five war-themed haiku, it is concluded that both poets constructed a collective trauma discourse. Rather than employing explicit descriptive narratives, the trauma discourse utilizes strong semiotic condensation strategies. Saito and Kaneko juxtaposed established cultural symbols and codes, such as Hiroshima as a metaphor of absolute destruction, the marathon as a symbol of life, breasts as a symbol of motherhood, and blooming flowers representing renewal into new surreal configurations that created novel meanings at the semiotic boundaries where tensions clashed.

This study examines the utilization of haiku as a form of response to postwar trauma through Kaneko Tota’s and Saito Sanki’s war-themed haiku. Following Japan’s defeat in World War II in 1945, a cultural shift occurred marked by transformation within traditional arts, particularly haiku, which became a significant medium for expressing traumatic historical and social experiences. Although both poets used haiku as a medium to express dissatisfaction and critique the socio-political conditions of the postwar period, they represented different generations and approaches in responding to postwar trauma. Saito, having directly experienced the trauma of war, developed a deconstructive strategy towards traditional haiku conventions. Meanwhile, Kaneko, belonging to the postwar generation, adopted a more radical approach in formal and semantic experimentation. These dual strategies not only embodied individual artistic responses to trauma but also contributed to a broader cultural project aimed at reconstructing Japan’s collective identity in the postwar era. Yuri Lotman’s cultural semiotics framework is employed to analyze the semiotic transformation dynamics in the poets' works. Lotman’s theory, with its key concepts of semiosphere, cultural text, and translation mechanisms, offers a comprehensive analytical tool for understanding the dynamics of sign systems and cultural meanings in World War II-themed haiku. From the analysis of five war-themed haiku, it is concluded that both poets constructed a collective trauma discourse. Rather than employing explicit descriptive narratives, the trauma discourse utilizes strong semiotic condensation strategies. Saito and Kaneko juxtaposed established cultural symbols and codes, such as Hiroshima as a metaphor of absolute destruction, the marathon as a symbol of life, breasts as a symbol of motherhood, and blooming flowers representing renewal into new surreal configurations that created novel meanings at the semiotic boundaries where tensions clashed.

This study examines the strategic role of euphemism in Abraham Lincoln’s Gettysburg Address, arguing that it was instrumental not only in managing collective grief but also in preserving the nation’s symbolic dignity. While much scholarship on the Gettysburg Address has concentrated on rhetorical artistry or historical significance (Wills, 1992; White, 2009), relatively few have analyzed it through the combined lens of sociolinguistics, specifically euphemism and face-work. Drawing on Allan and Burridge’s (2006) framework of euphemism and Goffman’s (1955) theory of face, this paper situates Lincoln’s speech within the broader sociolinguistic processes of healing, unity, and image restoration. Through a qualitative textual analysis, the study identifies three dominant euphemistic strategies: sanctification of sacrifice through sacred language, collectivization through inclusive pronouns, and redefinition of crisis as a “new birth of freedom.” These strategies operated at semantic, pragmatic, and sociopolitical levels to protect national face, transform perceptions of the Civil War, and realign public consciousness toward unity and resilience. Beyond historical interpretation, this research highlights the relevance of euphemism and face-work in contemporary political communication. Leaders in modern contextsfrom economic crises to global pandemics continue to rely on euphemistic  framing to manage uncertainty and inspire solidarity. By revisiting Lincoln’s address through this sociolinguistic perspective, the study demonstrates how language can simultaneously mitigate trauma, construct identity, and articulate a hopeful collective future.

This research explores how bullying is depicted in the animated film “Jumbo” through the lens of Roland Barthes' semiotic theory. Utilizing a descriptive qualitative approach, the study analyzes the denotative, connotative, and mythological meanings embedded within the film’s visual and narrative elements. Through this lens, the film is interpreted not merely as a piece of children's entertainment but as a medium that carries deeper social messages. The central character, Don, is portrayed as physically different from his peers, which becomes a symbol of broader societal rejection and marginalization. His journey reflects the internal and external struggles faced by individuals who do not conform to mainstream standards. Key symbolic components—such as Don’s unusually large physique, his inherited storybook, and the way he interacts with others—highlight themes of courage, empathy, personal identity, and the desire for social inclusion. The film subtly critiques the normalization of bullying and challenges dominant myths that suggest acceptance and success are only for those who meet certain physical or social norms. Through its narrative, Jumbo promotes values of diversity and encourages viewers, especially young audiences, to question unjust stereotypes and embrace empathy. By decoding the semiotic messages in Jumbo, this study contributes to a deeper understanding of how animated films can serve as powerful educational tools. They can raise awareness about social issues, influence attitudes, and inspire critical reflection, especially when they employ symbolism that resonates with real-life experiences. This research ultimately highlights the potential of animation as a medium for moral and social education beyond its entertainment function.

This study aims to describe the pattern of instilling human values at Ki Ageng Pandan Alas Martial Arts School, Kademangan Branch, Blitar. The research employed a descriptive qualitative approach with a phenomenological design. Data were collected through participatory observation, in-depth interviews using snowball sampling, and documentation, then analyzed using Miles & Huberman’s interactive model. The findings reveal that value transmission is carried out gradually through regular training, the trilogy of spirituality (hablum minallah, hablum minannas, rahmatan lil alamin), and the school’s greeting symbolized by the keris sigar penjalin. Methods applied include lectures, exemplary behavior, habituation, games, reward and punishment, value discussions, internalization, and real-life activities. The media consist of physical elements (uniforms, belts, symbols, and training equipment) and non-physical ones (teachings, role models, traditions). The study confirms that martial arts schools can serve as a medium for character education, particularly in fostering religiosity, empathy, respect, self-control, and social care. These findings enrich the discourse on value education and provide references for educational institutions, families, and communities.

This study aims to analyze the representation of Sultan Agung’s leadership in the film Sultan Agung directed by Hanung Bramantyo, using a descriptive qualitative approach. The research highlights how film as a medium constructs the meaning of leadership through narrative, visual elements, cultural symbols, and character development. Stuart Hall’s theory of representation is utilized to understand meaning construction in film, while leadership analysis refers to charismatic, transformational, and authoritarian models. Roland Barthes’ semiotic analysis is applied to examine denotation, connotation, and myth within the film’s elements. Data were collected through observation, documentation, interviews, and literature study, then systematically processed and analyzed. The findings show that Sultan Agung portrays not only a historical figure of leadership but also reflects cultural values and national identity relevant to contemporary Indonesia. The representation of leadership is constructed through cultural symbols, dialogues, and a meaningful storyline, generating new discourse about the ideal leader in modern society. This study is expected to enrich media and leadership studies and contribute to the development of contextual leadership insight among the younger generation.

This study analyzes the representation of the meaning of strong women in the main character, Tari, in the film Bolehkah Sekali Saja Ku Menangis using Roland Barthes' semiotic theory. The film emotionally depicts Tari’s life journey, from psychological pressure and harsh treatment within the family to the long process of rediscovering her true identity. Despite emotional wounds, Tari shows resilience and strength to rise. This study aims to identify how the meaning of a strong woman is constructed through cinematic elements such as visuals, dialogues, body expressions, and symbols in the film. Using a qualitative approach with Barthes' semiotic theory, the analysis focuses on the relationship between signs, denotative meaning, and connotative meaning in key scenes. Data was collected through in-depth observation and sign analysis of scenes that portray Tari's struggle, perseverance, and emotional transformation. The findings show that Tari represents a strong woman not only through physical endurance but also emotional resilience, self-empowerment, mental health awareness, and the courage to seek support. The film delivers a message about the importance of mental strength and women's courage in fighting for their rights and freedom. This study is expected to enrich the study of the representation of strong women in the media.

The rapid growth of digital technology has significantly transformed the way children access entertainment, particularly through streaming platforms such as Netflix. One popular animated series, Masha and The Bear, especially the episode “Tracks of Unknown Animals,” presents rich visual symbolism suitable for analysis through a semiotic approach. This study applies Sigmund Freud’s psychoanalytic theory, focusing on the concept of the superego, to examine the character of the Bear, who demonstrates patience, protectiveness, and tolerance toward Masha’s curiosity-driven behavior. The main objective of this research is to reveal how the representation of the superego is embodied through the Bear’s actions and responses in various challenging situations. The semiotic analysis interprets visual signs, expressions, and character interactions within the narrative. The findings indicate that the Bear serves as a moral figure representing the function of the superego in controlling Masha’s impulses and behavior. Therefore, this animated film not only provides entertainment but also conveys moral messages that reflect psychological and educational values for its audience.

The Community Service Program (KKN) is one of the important ways of serving the community in preserving local culture. This activity was carried out in Pangkat Village, Lembah Sorik Marapi Subdistrict, with the aim of safeguarding Gordang Sambilan as a symbol of Mandailing local wisdom. The program sought to raise awareness among the community, especially the younger generation, about the philosophical, spiritual, and social values embedded in Gordang Sambilan, while also encouraging the emergence of a new generation of traditional art performers. The method applied combined a participatory-collaborative approach with educational and cultural strategies, along with the Asset-Based Community Development (ABCD) model. The stages of the program included preparation, socialization, cultural performances, and basic training. The results showed increased community participation, strong enthusiasm among the younger generation to practice, and support from village officials and cultural leaders. This program demonstrates that active intergenerational involvement through direct practice can strengthen Mandailing cultural identity and open opportunities for the development of culture-based tourism.

This research aims to determine the function of the Barongsai art in the Chinese community in Payung Sekaki District, Riau Province. The theory used in this research is the theory of Allan P Merriam (1964:219:227) which states that art has functions, namely 1) communication function 2) entertainment function 3) symbolic function 4) function of integrating society. The method used in this research is descriptive analysis using qualitative data, with data collection techniques namely observation, interviews and documentation techniques. The subjects in this research were 4 people. The communication function of the lion dance art in Payung Sekaki District can be seen through the movements and appearance of the lion dance and the performers. Wushu martial arts movements and costumes from performers and lion dance. The entertainment function of the Lion Dance art in Payung Sekaki District is not only performed during Chinese New Year holidays, but also other events such as wedding parties, company inaugurations, and welcoming guests. The symbolic function of Barongsai art in Payung Sekaki District can be seen from several symbols of the Barongsai, such as the symbol of courage and strength marked by the beard on the Barongsai's chin and the symbol of prosperity and good luck marked by the ears and tail. The function of integrating the Barongsai art community in Payung Sekaki District certainly creates a sense of togetherness that exists between players and spectators, which indicates that there is community integrity in the Barongsai art.

This research  examines the transfiguration of Jesus in the Synoptic Gospels, with particular emphasis on the theological distinctiveness of the Gospel of Mark. The study employs a qualitative method using a literature review approach, focusing on narrative analysis, textual comparison, and theological reflection. The analysis shows that although Matthew, Mark, and Luke present the transfiguration event, each Gospel offers distinctive features in wording, narrative structure, and theological emphasis. Mark presents the transfiguration in a concise form, portraying Jesus as the messianic Son of God and as a prophet like Moses, while highlighting the apocalyptic and symbolic aspects of this divine encounter. From Mark’s perspective, the transfiguration serves as a prefiguration of Jesus’ resurrection and a revelation of His messianic identity, which in the Greco-Roman context may be understood as apotheosis—the elevation of a human into divinity. This study affirms that the transfiguration in Mark is not only a historical event but also a theological event that encompasses eschatological and christological dimensions, as well as a reflection on divine hiddenness. In conclusion, the transfiguration is understood as a manifestation of Jesus’ hidden glory within suffering, confirming that the path to resurrection and glory must pass through the cross. This article contributes to biblical and theological studies by demonstrating how Mark articulates a unique christology, one that remains relevant for contemporary Christian faith and opens avenues for further exploration through apocalyptic theology and scriptural intertextuality.

This article discusses humans who seek a name for their own fame in Genesis 11:1-9. Those humans want to find a name so that they will not be scattered all over the earth. The construction of the tower of Babel became a popular story in the days of Noah's descendants because of its towering structure. This became a reference for the humans to seek a name so that the whole world would recognize their greatness and power. The Tower of Babel became a symbol of human pride and arrogance. Seeking a name outside of God is inappropriate and will only bring the Lord's wrath, instead the right thing to do is for man to approach the LORD God not to seek a name for his greatness but to glorify the LORD. Therefore, in relation to this point, the research was conducted through hermeneutic work with the method of historical criticism. The researcher does hermeneutic work to get the right meaning and can be a reference for readers, especially for the GMIM Alfa Omega Kumaraka In .