Publication Search

Metaphor is a form of figurative language that expresses meaning indirectly by comparing one concept with another concept that has similar characteristics. The purpose of this research is to identify the types of metaphors used and to analyze how metaphors are represented in the lyrics of selected songs by Nadin Amizah, namely Bertaut, Taruh, Sorai, Semua Aku Dirayakan, and Hormat Kepada Angin. This research uses Ullmann’s theory (1972) which classifies metaphors into four types: anthropomorphic metaphor, animal metaphor, concrete-to-abstract metaphor, and synesthetic metaphor. The method used in this research is descriptive qualitative. The data were collected by reading the song lyrics, identifying metaphorical expressions, and classifying them based on Ullmann’s theory. The results show that there are 20 metaphorical expressions found in the selected songs. Anthropomorphic metaphor appears most frequently with 9 occurrences (45%), followed by concrete-to-abstract metaphor with 8 occurrences (40%). Animal metaphor appears 2 times (10%), while synesthetic metaphor appears only once (5%). These metaphors are used in the lyrics to express emotional experiences and personal reflections through imaginative and figurative language.

This study aims to carry out a thorough analysis of the use of stylistic elements, particularly in terms of diction and language style, as applied by Pitoyo Amrih to shape the character of Gatotkaca in the novel Sisi Gelap Gatotkaca. The character of Gatotkaca, traditionally depicted as a flawless heroic figure, is reimagined by the author through a more humanistic and reflective linguistic approach. Using a qualitative descriptive method alongside stylistic literary criticism, this article examines how linguistic units within the text serve as rhetorical tools to reveal internal conflicts, existential burdens, and the darker aspects of the main character. The analysis process involves identifying word choices that carry a melancholic tone as well as the prominent use of figurative language, including comparisons, contrasts, and emphatic statements. The findings indicate that the use of archaic and philosophical diction, combined with sharp irony and metaphor, effectively transforms the image of Gatotkaca from merely a symbol of physical strength into a representation of human psychological fragility. This research contributes to literary criticism by highlighting how an author’s language style can alter readers' perceptions of established myths within society's culture.

Semantics is a discipline of linguistics that deeply examines the meaning of words, encompassing the origins of their formation, the process of evolution, and the historical factors that trigger shifts in meaning within a language. In semantic studies, a fundamental distinction is made between denotative meaning, which refers to the literal or actual meaning, and connotative meaning, which carries emotional value or a non-actual, figurative sense. This research focuses on analyzing the variation of both types of meaning in Tere Liye's novel Bulan, with the main objective of comprehensively describing the manifestation of denotative and connotative expressions. The method used is qualitative with a descriptive approach, where the researcher acts as the key instrument (human instrument). This method is also known as the naturalistic approach, as data collection takes place under natural object conditions, with data analysis heavily emphasizing the in-depth qualitative aspects. The results of the study indicate that the use of denotative meaning has a much more dominant frequency than connotative meaning. This dominance occurs because the majority of the narrative in the novel tends to utilize the actual, lexical meaning. This signals the author’s (Tere Liye’s) intention to present the adventure story with straightforward and transparent language, allowing the reader to easily comprehend the storyline without being hindered by the complexity of figurative meaning interpretation.

Enforced disappearance during the New Order era represents a historical reality that has left profound wounds and prolonged uncertainty for both the victims and the families left behind. This reality is powerfully represented in Laut Bercerita, a novel by Leila S. Chudori, through the use of symbolic and evocative literary language. This study aims to reveal the representation of enforced disappearance through the use of figures of speech and metaphors in the novel. The research employs a descriptive qualitative method with a stylistic approach. The data consist of narrative excerpts containing figures of speech and metaphors related to experiences of loss, suffering, memory, and resistance. Data collection was conducted through intensive reading and systematic note-taking, while data analysis involved classifying types of figures of speech and interpreting their contextual meanings. The findings indicate that metaphors of the sea, silence, darkness, and alienation play a crucial role in constructing the representation of enforced disappearance as a traumatic experience that is not only physical but also psychological and collective in nature. The use of figurative language strengthens the narrative’s expressive power in conveying criticism of state violence while simultaneously preserving the memory of humanitarian tragedies that are often marginalized. This study implies that literary works can function as reflective media and as cultural documentation of histories of violence.

Indonesian language learning in elementary schools, especially on figurative language, still faces various problems, such as difficult to understand material, limited learning media, and low student interest and understanding. This is also experienced by fifth-grade students of SD 1 Mlati Lor who have difficulty recognizing types of figurative language and understanding their meaning well in context. This study aims to develop an interactive flipbook media about figurative language that highlights the local wisdom of North Sulawesi and test its feasibility and practicality for semantic learning. The method used in this study is research and development (R&D) with the ADDIE model, which consists of analysis, design, development, implementation, and evaluation. The research subjects were fifth-grade students of SD Negeri 1 Mlati Lor. Data collection was carried out through interviews, observations, validation by material and media experts, questionnaires for teachers and students, and learning outcome tests. Data were analyzed using qualitative and quantitative descriptive approaches. The results of the study indicate that the interactive flipbook media inspired by the local wisdom of North Sulawesi was considered very valid by experts. Furthermore, practicality testing demonstrated that teachers and students responded in the "very practical" category, indicating that the media was easy to use and well-received in learning. The application of local cultural elements has been shown to help students understand figurative language concepts more clearly and meaningfully. Therefore, the developed flipbook can be used as an alternative Indonesian language learning medium to improve students' semantic understanding and cultural knowledge in elementary schools.

Islamic architecture in the archipelago cannot be understood as simply a transfer of physical forms from the Middle East to Southeast Asia. It is the result of a deep cultural dialogue between universal Islamic principles and local wisdom that has been formed since pre-Islamic times. When Islam spread in the archipelago, it did not exist as a force that negates Hindu, Buddhist, and vernacular traditions, but rather proceeded through visual and structural synthesis that gave birth to a distinctive and hybrid Islamic architectural identity. One of the most iconic manifestations of this process is the use of overlapping roofs in historic mosques such as the Great Mosque of Demak and the Great Mosque of Banten. Different from typical Persian or Mediterranean stone domes, this multi-storey wooden structure is inspired by the concept of Meru in Hindu-Javanese architecture. The choice is not only symbolic, but also a functional adaptation to the tropical climate, as it allows for efficient rainwater disposal as well as optimal natural ventilation. Spatially, the placement of mosques follows the concept of Catur Gatra Tunggal, which is the integration of mosques with squares, government centers, and markets. This pattern reflects the integration between the spiritual, political, and economic life of the community. In the interior, the use of Saka Guru shows the appointment of local construction techniques as the main element of worship buildings. Aspects of syncretism are also seen in ornamentation, where pre-Islamic figurative motifs are transformed into flora and calligraphy patterns that are in harmony with the principles of Islamic aniconism. Thus, the archipelago's Islamic architecture represents Islam as an inclusive and contextual force that is able to process local traditions into a sustainable new identity.

Sarcasm is a literary device and one of the most expressive forms of figurative language, often used to convey humor, criticism, or emotional tension in both daily conversation and literature. This study explores the use of sarcasm in William Shakespeare‟s Much Ado About Nothing by applying Elizabeth Camp‟s (2011) typology, which classifies sarcasm into four types: propositional, lexical, illocutionary, and like-prefixed sarcasm. Using a qualitative descriptive method, the researchers collected all sarcastic utterances from the play, classified them according to Camp‟s framework, and analyzed their pragmatic functions in the dramatic context. The findings reveal a total of 50 sarcastic utterances, with propositional sarcasm being the most frequent (42%), followed by illocutionary sarcasm (28%), lexical sarcasm (24%), and like-prefixed sarcasm (6%). These results indicate that sarcasm serves as both a comedic and dramatic device, shaping character interactions, driving conflicts, and reinforcing Elizabethan cultural norms. Beatrice and Benedick‟s witty verbal duels exemplify how sarcasm fosters humor and intimacy, while Claudio‟s sarcasm highlights themes of honor and social tension. Overall, the study demonstrates that sarcasm in Shakespeare‟s play is not merely humorous banter but a sophisticated rhetorical strategy that enhances characterization, thematic depth, and audience engagement.

Sarcasm is a literary device and one of the most expressive forms of figurative language, often used to convey humor, criticism, or emotional tension in both daily conversation and literature. This study explores the use of sarcasm in William Shakespeare‟s Much Ado About Nothing by applying Elizabeth Camp‟s (2011) typology, which classifies sarcasm into four types: propositional, lexical, illocutionary, and like-prefixed sarcasm. Using a qualitative descriptive method, the researchers collected all sarcastic utterances from the play, classified them according to Camp‟s framework, and analyzed their pragmatic functions in the dramatic context. The findings reveal a total of 50 sarcastic utterances, with propositional sarcasm being the most frequent (42%), followed by illocutionary sarcasm (28%), lexical sarcasm (24%), and like-prefixed sarcasm (6%). These results indicate that sarcasm serves as both a comedic and dramatic device, shaping character interactions, driving conflicts, and reinforcing Elizabethan cultural norms. Beatrice and Benedick‟s witty verbal duels exemplify how sarcasm fosters humor and intimacy, while Claudio‟s sarcasm highlights themes of honor and social tension. Overall, the study demonstrates that sarcasm in Shakespeare‟s play is not merely humorous banter but a sophisticated rhetorical strategy that enhances characterization, thematic depth, and audience engagement.

This study aims to identify words that contain lexical ambiguity, explore their meanings, and classify them in the children’s book Amelia Bedelia by Herman Parish. The data were collected from the Amelia Bedelia Chapter Books series, which consists of twelve books published between 2013 and 2018. The analysis identified a total of 58 words with lexical ambiguity, including 46 instances of polysemy and 12 of homonymy. The classification of polysemy and homonymy is based on the semantic relatedness or unrelatedness between the multiple meanings of each word. The Amelia Bedelia stories effectively illustrate how children perceive and react to lexical ambiguity through the main character, Amelia, who is known for her literal interpretations of figurative language. This literal understanding often leads to humorous situations. Lexical ambiguity in these books functions not only as a source of entertainment but also as a valuable linguistic learning tool. Therefore, the stories contribute to language development in early childhood readers.

This study investigates the metaphorical expressions in the song Golden Hour by JVKE using Conceptual Metaphor Theory (CMT) by Lakoff and Johnson (1980). The research aims to identify and analyze metaphors that represent emotional experiences, particularly romantic feelings, through the use of concrete and sensory imagery. Using a qualitative descriptive method, the lyrics of Golden Hour were analyzed to uncover how metaphorical language shapes the expression of love and emotional transitions. The findings reveal several dominant metaphor categories such as LOVE IS LIGHT, LOVE IS A JOURNEY, and EMOTION IS ELEVATION. These metaphors transform abstract emotions into vivid, relatable experiences by linking them to concepts like time, nature, and movement. The study concludes that metaphor in song lyrics functions as a cognitive and poetic device that enhances meaning and emotional resonance. The implications of this research highlight the relevance of metaphor analysis in understanding language, thought, and culture, especially in modern musical texts.

This study aims to analyze and identify the use of language styles in the song "Kuyamu to Kaite Mirai." Language style refers to the technique of utilizing the richness of language, both in written works and oral communication, to create deeper aesthetic and communicative effects. In song lyrics, the use of language style becomes a crucial element that can strengthen the meaning and artistic appeal of a literary work. This research employs Gorys Keraf's language style theory as the theoretical foundation for classifying and identifying language styles. The study utilizes a descriptive qualitative research method with primary data sources consisting of the lyrics of "Kuyamu to Kaite Mirai." The qualitative approach was chosen to enable in-depth analysis of figurative language usage within the song lyrics. The research findings reveal the presence of five types of language styles employed in the lyrics of "Kuyamu to Kaite Mirai." The identified language styles include asyndeton, assonance, erotesis, metaphor, and simile. Asyndeton was found in the use of word sequences without conjunctions to create dramatic effects. Assonance was identified through the repetition of vowel sounds that create sound harmony. The esoteric figurative language style emerges in the use of the particle の at the end of sentences, indicating that this verse constitutes an interrogative sentence. Metaphors and similes are employed to create comparisons that strengthen the song's emotional meaning. The utilization of language styles in the lyrics of "Kuyamu to Kaite Mirai" functions not merely as aesthetic ornamentation, but also as a means to convey messages and emotions more effectively to listeners. This research is expected to contribute to the understanding of language style usage in popular music works and serve as a reference for similar studies in the future.

The advances in the movie industry have led to the rapid rise of streaming platforms, becoming increasingly popular among people. With countries around the world constantly producing movies, subtitles play an essential role in making films more accessible to a broader audience. Subtitling strategies can be defined as a translation practice involving the display of written text, usually at the bottom of the screen, to convey the original dialogues of the speakers and the information contained in the soundtrack. This study uses data from the lk21 website and analyzes it using Gottlieb’s subtitling strategies theory, which consists of ten specific methods for audiovisual translation: Expansion, Paraphrase, Transfer, Imitation, Transcription, Deletion, Dislocation, Condensation, Decimation, and Resignation. A descriptive qualitative approach was adopted in this study with observation, classification, and note-taking of each subtitle, suitable for the research, and describing the subtitling strategies applied in the movie. The findings show that seven strategies were applied in the Indonesian subtitles, namely paraphrase, transfer, condensation, imitation, deletion, dislocation, and expansion. Among them, paraphrase emerged as the most frequently used strategy, likely because figurative or culture-specific expressions in the source text often required adaptation to preserve their meaning for Indonesian viewers. On the other hand, expansion was identified as the least applied strategy, suggesting that the original dialogues rarely demanded additional explanation. Overall, the strategic use of these methods contributed to producing subtitles that were coherent, culturally adapted, and highly accessible to the target audience.

This study investigates the meanings associated with the song “Scaredy Cat” by Ian DPR, focusing on connotative and denotative aspects through a semantic perspective. Using qualitative research methods, this work builds on existing research related to figurative language. The findings highlight the complex interaction between the song's literal meaning and its deeper emotional implications, which collectively enhance its impact. Denotative aspects provide a clear understanding of the songwriter's experience, while connotative elements invite deeper engagement with themes of fear, anxiety, and vulnerability. This research reveals that figurative language, such as metaphors and imagery, contributes to the layered interpretation of songs. This complexity not only strengthens the emotional bond between the artist and the audience but also encourages listeners to reflect on their own feelings and experiences. The importance of language in music as a means of expressing human emotions is emphasized. By combining empathetic language and figurative language, songwriters can create a sense of release and emotional connection. The results align with previous research on the importance of figurative language in enhancing lyrical meaning and emotional resonance. Further research is recommended to explore the relationship between semantics and emotional expression across various music genres.

This study aims to analyze the use of figurative language in the novel Lonte Pageue by Adam Zainal. The method employed is descriptive qualitative, which is commonly used to analyze literary texts. The data collection technique applied in this research is the reading and note-taking technique, where the researcher reads through the novel and notes down relevant instances of figurative language. The data used in this study consist of sentences or phrases containing figurative language found in Lonte Pageue. The source of the data for this research is the novel Lonte Pageue by Adam Zainal, which serves as the primary material for analysis. The data analysis techniques applied include data reduction, data presentation, and conclusion drawing. The findings and discussion regarding figurative language in Lonte Pageue revealed a total of 85 instances of figurative language. These instances consist of 31 rhetorical figurative language expressions and 54 tropes. The rhetorical figurative language includes alliteration, euphemism, litotes, hyperbole, and paradox, while the tropes include simile, metaphor, personification, synecdoche, metonymy, antonomasia, irony, and antiphrasis. The results of the analysis indicate that rhetorical figurative language is the most frequently found, with 31 instances, while tropes are the least frequently identified, with only 54 instances. This study provides a comprehensive understanding of how figurative language is employed in Lonte Pageue, which contributes to the development of literature analysis.

This study focuses on the symbolic meanings embedded in the use of figurative language in the poetry anthology Selamat Menunaikan Ibadah Puisi by Joko Pinurbo. The research utilizes a descriptive qualitative approach, with semiotic analysis serving as the theoretical foundation. The purpose of this study is to examine how the figurative language used in the poems contributes to conveying deeper symbolic meanings, beyond their role as mere rhetorical devices. The findings of this research reveal that the figurative language within the poems plays a significant symbolic role in expressing complex themes such as inner suffering, memories, identity, alienation, and the quest for the meaning of life. Symbols like 'storm,' 'refrigerator,' 'dusk,' 'window,' 'door,' 'river,' and others are employed to represent abstract concepts, providing a more nuanced understanding of the human experience. The study identifies various types of figurative language, including metaphor, simile, personification, hyperbole, synecdoche, paradox, and irony. Each of these elements serves to enrich the meaning of the poems, adding layers of depth to the interpretation and enhancing the aesthetic experience for the reader. Through these figurative expressions, the poet effectively invites the reader to engage with both the emotional and intellectual dimensions of the poetry. This research emphasizes how Joko Pinurbo's use of figurative language transcends its traditional ornamental function, making it a powerful tool for conveying complex symbolic and existential themes. By analyzing the symbolic meanings in the poems, this study contributes to a deeper appreciation of the interplay between language, meaning, and emotion in contemporary Indonesian poetry.

The Titanic drama contains many figurative expressions that reflect deep emotions, life values, and internal conflicts. These figures of speech are used to describe love, fear, sadness, and hope in a more vivid and memorable way. The emotional experiences of the characters, especially Jack and Rose, are shown not only through direct dialogues but also through creative figurative language. This study aims to examine the types of figures of speech found in Titanic, a drama film directed by James Cameron. Using a qualitative descriptive method, this study analyzes the film's dialogues based on the conceptual figurative theory proposed by Lakoff and Johnson. This study identified three main types of figures of speech: structural, ontological (including personification and metonymy), and orientational figures of speech. The results showed that structural figures of speech were the most dominant type, appearing in 45.9% of the total data, followed by ontological figures of speech at 29.7%, and orientational figures of speech at 24.3%. This finding proves that figures of speech are not only used to beautify language but also to express feelings and views on life in a deeper and more emotional way. The allusions in Titanic help the audience understand the characters' thoughts and experiences better.

This study discusses the symbolic meaning contained in the use of figurative language in the poetry anthology Selamat Menunaikan Ibadah Puisi by Joko Pinurbo. This study uses a qualitative descriptive approach with a semiotic analysis method as a theoretical basis, which allows researchers to interpret the signs and symbols in the poetic texts in depth. The results of the study show that the figurative language in the poems does not only function as rhetorical decoration or mere linguistic ornamentation, but has a strong and essential symbolic function in conveying hidden messages and the poet's inner emotions. Symbols such as "storm", "refrigerator", "twilight", "window", "door", "river", and others are not only concrete images, but convey deep meanings related to inner suffering, past memories, the search for self-identity, feelings of alienation, and the search for the universal meaning of life. In addition, this study also identifies various types of figurative language used by Joko Pinurbo in the anthology, including metaphor, simile, personification, hyperbole, synecdoche, paradox, and irony. All types of figurative language are skillfully used to enrich the meaning of poetry and deepen the aesthetic experience of readers, allowing them to feel and reproduce the messages hidden behind the words. Thus, this study confirms that the use of figurative language in poetry is not only a literary technique, but also a powerful medium of expression and a means of communicating complex meanings in modern literary works. This study discusses the symbolic meaning contained in the use of figurative language in the poetry anthology Selamat Menunaikan Ibadah Puisi by Joko Pinurbo. This study uses a qualitative descriptive approach with a semiotic analysis method as a theoretical basis, which allows researchers to interpret the signs and symbols in the poetic text in depth.

This study discusses the symbolic meaning contained in the use of figurative language in the poetry anthology Selamat Menunaikan Ibadah Puisi by Joko Pinurbo. This study uses a qualitative descriptive approach with a semiotic analysis method as a theoretical basis, which allows researchers to interpret the signs and symbols in the poetic texts in depth. The results of the study show that the figurative language in the poems does not only function as rhetorical decoration or mere linguistic ornamentation, but has a strong and essential symbolic function in conveying hidden messages and the poet's inner emotions. Symbols such as "storm", "refrigerator", "twilight", "window", "door", "river", and others are not only concrete images, but convey deep meanings related to inner suffering, past memories, the search for self-identity, feelings of alienation, and the search for the universal meaning of life. In addition, this study also identifies various types of figurative language used by Joko Pinurbo in the anthology, including metaphor, simile, personification, hyperbole, synecdoche, paradox, and irony. All types of figurative language are skillfully used to enrich the meaning of poetry and deepen the aesthetic experience of readers, allowing them to feel and reproduce the messages hidden behind the words. Thus, this study confirms that the use of figurative language in poetry is not only a literary technique, but also a powerful medium of expression and a means of communicating complex meanings in modern literary works. This study discusses the symbolic meaning contained in the use of figurative language in the poetry anthology Selamat Menunaikan Ibadah Puisi by Joko Pinurbo. This study uses a qualitative descriptive approach with a semiotic analysis method as a theoretical basis, which allows researchers to interpret the signs and symbols in the poetic text in depth.

This study aims to identify and analyze the types of figurative language found in the song lyrics of Boygenius’s album “The Record.” The research specifically seeks to determine the various figurative language devices present in selected tracks and to interpret the meanings behind these expressions using Leech’s theory of meaning. By focusing on figurative language, the study aims to enhance the understanding of how artistic language in indie music conveys complex emotions and themes, enriching both literary appreciation and linguistic analysis. The data source for this research consists of the lyrics from four selected songs: “Emily I’m Sorry,” “True Blue,” “Cool About It,” and “Not Strong Enough” from Boygenius’s album “The Record.” Data collection was conducted through an observation and note-taking technique: the researcher listened to the songs on Spotify and obtained the lyrics from www.genius.com. The method of analysis employed a descriptive qualitative approach, with the researcher identifying and categorizing instances of figurative language in the lyrics. The study was guided by the framework of Knickerbocker and Reninger for figurative language types and Leech’s theory for interpreting the meanings, which include conceptual, connotative, social, affective, reflected, collocative, and thematic meanings. The study's results revealed a total of 36 instances of figurative language across the selected songs, encompassing similes, metaphors, personification, synecdoche, metonymy, hyperbole, irony, and paradox. Of these, 36 examples were analyzed in detail to explore their meanings. The findings demonstrate that Boygenius’s lyrics utilize a diverse range of figurative language,

The purpose of this study is to determine the style of language used by Jay Asher in Thirteen Reasons Why and to find the dominant type of language style in Jay Asher's Thirteen Reasons Why. The research method used is qualitative. The results of this study are based on the theory of language style according to Keraf. The style of language that is widely used in this novel is of the 25 styles of language found, there are as many as 16 data (64%) are personification language styles, 5 data (20%) are ironic language styles, 2 data (8%) are figurative language Antiphrasis, 1 data (4%) is an allusion style, and 1 data (4%) is a metaphor style. Personification style is in the first place and is the dominant style of language used in Jay Asher's novel Thirteen Reasons Why.