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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.

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.

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.

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.

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.

This article discusses the poem “Sajak Suara” by Wiji Thukul through a structural approach that emphasizes the analysis of intrinsic elements of the text, such as diction, imagery, figurative language, typography, and the poem’s inner structure. This poem was chosen because it contains a strong ideological message related to the struggle against oppression and the silencing of freedom of expression, particularly in the context of the New Order regime. The analysis shows that the poem’s formal structure both in form and content, actively reinforces the spirit of resistance and freedom. The use of direct diction, rhetorical language, and free typography reflects an expression of tension and determination. Thus, the structural approach is able to reveal how the poem’s form itself becomes a crucial instrument in conveying socio-political messages. This study is expected to broaden appreciation of poetry as a medium of critique and collective awareness.

This study aims to analyze the figurative language used in the song lyrics of “Cause You Have To” by the American band LANY. Using a qualitative descriptive method, this research identifies and interprets various types of figurative language found in the lyrics, focusing on metaphor, simile, hyperbole, personification, symbolism, irony, allusion, and synecdoche. The findings reveal that these figurative devices play a significant role in conveying the emotional depth, psychological tension, and relational conflict expressed in the song. Metaphors and hyperboles dominate the lyrics, enhancing the emotional impact by illustrating themes of unreciprocated love, emotional detachment, and inner turmoil. For example, metaphors like “the silence is getting too cold” and hyperbolic expressions such as “I’d drive through the night” contribute to the song’s emotional intensity. The study concludes that figurative language is essential in shaping the narrative and emotional resonance of the song, allowing listeners to engage with the lyrics on a more personal and interpretive level. This research highlights the importance of figurative language in music and its role in deepening the listener’s emotional experience.

This study aims to analyze and determine the types of figurative language in the lyrics of Anaheim by Niki Zefanya using a descriptive qualitative approach by presenting the object of analysis and explaining it. In this study, the author will analyze the types of figurative language used in the lyrics of Anaheim by Niki Zefanya and explain the meaning conveyed by the lyrics. The analysis results show that the use of figurative language in the song Anaheim is dominated by metaphors and hyperbole. The use of metaphors and hyperbole in this song conveys emotions, sadness, and feelings of guilt, which are successfully conveyed through the use of figurative language. Thus, figurative language enriches and beautifies language and provides creative expression for songwriters or other creators.

This study aims to analyze the idiomatic expressions found in the song lyrics of “Birds of a Feather” by Billie Eilish. Idioms are an essential part of figurative language that enriches the meaning of lyrics and contributes to the emotional and cultural depth of a song. Using a qualitative descriptive method, this research identifies and classifies the idioms based on Makkai’s (1972) typology and interprets their contextual meanings through Leech’s (1981) theory of semantics. The analysis reveals various types of idioms, including phrasal verb idioms and tournure idioms, that reflect themes of emotional connection and loyalty. The findings demonstrate how idioms enhance lyrical expression and offer deeper insight into the artist’s intended message. This study contributes to the understanding of idiomatic usage in contemporary music and provides a linguistic perspective on lyrical interpretation.