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This study examines the cultural meanings contained in student protest slogans during the October 2025 demonstrations using an anthropolinguistic approach. Language in protest slogans functions not only as a communication tool but also as a cultural representation reflecting social values, ideology, collective identity, and social practices. The purpose of this study is to reveal the cultural meanings embedded in student protest slogans and explain how these meanings are constructed through linguistic choices. This research employs a descriptive qualitative method with observation, note-taking, documentation, and brief interviews with participants as data collection techniques. The data were analyzed using distributional methods by identifying linguistic elements such as metaphors, irony, lexical choices, and sentence structures, then relating them to socio-cultural contexts. The findings show that protest slogans represent values of social solidarity, nationalism, social justice, transparency, criticism of power, gender equality, and resistance to state repression. In addition, slogans construct collective identities between citizens, government, and authorities, while carrying strong socio-political ideologies. These findings confirm that protest slogans are complex cultural practices and reflect students’ collective awareness in responding to social dynamics.

The fleeting nature of human life constitutes a key theme in theological reflections within the Old Testament, particularly in the Book of Psalms in the Alkitab, which highlights human limitations and the inherent uncertainty of existence. Psalm 39:6–7 depicts human life as a transient shadow and emphasizes the futility of human efforts if they are not oriented toward God. This study seeks to explore the meaning of human transience in this passage and assess its theological significance for contemporary life. A qualitative approach with biblical hermeneutics is employed, considering historical, literary, and theological dimensions. The analysis indicates that the metaphor of the “shadow” illustrates human fragility, while the depiction of life’s futility critiques the human tendency to find purpose solely in worldly endeavors. Despite this, Psalm 39 ultimately directs readers toward hope in God, portraying Him as the ultimate source of true meaning. In a modern, materialistic context, this message continues to be relevant as a reminder of human dependency on God and the limitations of human life. Therefore, the transience of life does not signify the end of existential purpose but rather opens the way to deeper spiritual insight and the strengthening of faith.

Christian leadership rooted in John 15:1 8 and 13 17 depicts Jesus as the true vine, where leaders, as branches, must abide (remain attached) in Him (Jesus Christ) to bear abundant fruit through divine vision, moral integrity, and passionate service. This analysis explores how the vine metaphor shapes a leadership model that depends on an intimate (attached) relationship with Christ, producing fruit in daily life and ministry. The relationship between the vine and the branches reflects the necessity for church leaders to rely on Christ for guidance, strength, and the ability to serve others effectively. The model emphasizes the importance of nurturing personal spiritual growth, cultivating virtues that align with God’s purpose, and fostering a ministry focused on service and integrity. These principles are relevant for Indonesian church leaders who are called to integrate their faith with contextual ministry. By examining the passage through exegesis and literature review, this article provides insights on developing a Christ centered approach to leadership.

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 seeks to interpret the meaning of the lyrics in the song “Ada Titik‑Titik di Ujung Doa” by Sal Priadi through Schleiermacher’s hermeneutic approach. The song reveals a subtle spiritual dimension by means of metaphor and poetic language, portraying prayer as a personal, reflective, and hope‑laden form of inner conversation amid the uncertainty of life in the post‑pandemic era. By adopting a qualitative interpretive method, the research examines the song lyrics through Schleiermacher’s two principal dimensions: grammatical interpretation and psychological interpretation. The analysis shows that prayer in this song is not merely a conventional religious ritual, but an existential expression of human beings facing loss, isolation, and unfulfilled hopes. The phrase “titik‑titik di ujung doa” functions as a symbolic space of incomplete psycho‑spiritual longing, in which prayer is understood as an open, fragmented, and repetitive process, as well as a medium for reconciling with the past and seeking forgiveness for both oneself and others. Within Schleiermacher’s hermeneutic framework, the interpretation of these lyrics suggests that prayer in contemporary Indonesian pop music serves as a representation of human resilience, personal, reflective, and subtly critical of the notion that divine response must always be complete and perfectly resolved.

This study aims to (1) identify and describe the forms of rhetorical strategies used by students in language and literature learning, and (2) analyze the reflection and implementation of elements of Makassar cultural traditions in these rhetorical strategies. This study uses a qualitative approach with descriptive methods. Data collection techniques are carried out through direct observation of the learning process and in-depth interviews with students as research subjects. The data obtained are analyzed through the stages of data reduction, data presentation, and drawing conclusions. The results of the study indicate that students apply several main rhetorical strategies, such as the use of metaphors, similes, symbolic expressions, and local idioms that represent the values ​​of siri' na pacce, namely the concepts of self-esteem, solidarity, and empathy in Makassar culture. These culture-based rhetorical strategies are proven to be able to increase the effectiveness of academic communication, enrich language expression, and strengthen students' awareness and understanding of local cultural identity in the context of language and literature learning in higher education.

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.

This study aims to examine pragmatic aspects, particularly speech acts and implicatures, in the lyrics of the song “Sedia Aku Sebelum Hujan” by Idgitaf. By applying a qualitative descriptive method through pragmatic content analysis techniques, this study examines locutionary, illocutionary, and perlocutionary speech acts based on Austin's theory, as well as conversational implicatures based on Grice's framework. The results show that the song lyrics are dominated by expressive and commissive illocutionary acts that serve to express sacrifice, vulnerability, and unconditional commitment. Locutionary acts play a role in constructing a literal narrative about protection and relationship inequality, while perlocutionary acts are aimed at evoking feelings of security and gratitude in the listener. Furthermore, the study of implicature reveals deeper implied meanings related to self-sacrifice, acceptance of inequality in relationships, and anticipatory commitment, which are often conveyed through the metaphors of “rain” and “war”. This study concludes that the power of lyrics lies not only in explicit romantic expressions, but also in the strategic use of language to perform actions and convey implicit values of devotion, reflecting the complex dynamics of human relationships, even when they are unbalanced. These findings emphasize the importance of pragmatic analysis in fully understanding the communicative and artistic impact of song lyrics.

This study analyzes the short story Cinta Semata Wayang by Nuryana Asmaudi SA using a literary psychology approach grounded in Sigmund Freud’s psychoanalytic theory. The research applies a literature study with a descriptive qualitative method. Data were collected through close reading to identify structural elements and the psychological dynamics of the characters. The findings reveal marital conflict symbolized through wayang figures, particularly Rama and Sinta. Structurally, the story presents a progressive plot, symbolic and metaphorical language, and central themes of love and responsibility. The psychological analysis highlights the interaction of the id, ego, and superego within the main characters: Rama experiences tension between personal desires and moral norms, while Sinta demonstrates superego dominance through loyalty and emotional endurance. The short story emphasizes that true love is not solely based on emotion but also requires responsibility, commitment, and moral awareness as the foundation of a harmonious and sustainable relationship. This research contributes to literary psychology studies and deepens understanding of moral values in literature.

This study analyzes the short story Cinta Semata Wayang by Nuryana Asmaudi SA using a literary psychology approach grounded in Sigmund Freud’s psychoanalytic theory. The research applies a literature study with a descriptive qualitative method. Data were collected through close reading to identify structural elements and the psychological dynamics of the characters. The findings reveal marital conflict symbolized through wayang figures, particularly Rama and Sinta. Structurally, the story presents a progressive plot, symbolic and metaphorical language, and central themes of love and responsibility. The psychological analysis highlights the interaction of the id, ego, and superego within the main characters: Rama experiences tension between personal desires and moral norms, while Sinta demonstrates superego dominance through loyalty and emotional endurance. The short story emphasizes that true love is not solely based on emotion but also requires responsibility, commitment, and moral awareness as the foundation of a harmonious and sustainable relationship. This research contributes to literary psychology studies and deepens understanding of moral values in literature.

The study of meaning in language, whether found in words, phrases, or sentences, is known as semantics. Language often has diverse or metaphorical meanings in literary works such as songs, which can confuse listeners. This becomes a problem when listeners understand song lyrics differently from what the artist intended. The song “Kembali Pulang” by Suara Kayu and Feby Putri, which is currently popular, is an example of lyrics rich in symbolism and meaning, making it interesting to study semantically. Abdul Chaer's semantic theory, which focuses on determining lexical and grammatical meaning, forms the basis of this approach. Lexical meaning, which includes synonyms, antonyms, homonyms, hyponyms, polysemy, redundancy, and ambiguity, is the dictionary meaning or actual meaning. However, meanings that have undergone composition, reduplication, and affixation are known as grammatical meanings. To correctly and thoroughly understand the message conveyed by the song “Kembali Pulang” by Suara Kayu and Feby Putri, this study aims to clarify the lexical and grammatical meanings contained in the song lyrics. A descriptive qualitative approach was used in this study, which included analysis of the song lyrics along with recording, listening, and reading strategies.

This study examines the words structure of two selected songs, “Kekal” and “Di Akhir Perang”, from Nadin Amizah’s album Untuk Dunia, Cinta, dan Kotornya, with a focus on identifying and interpreting the functions of open class words and closed class words within the lyrical composition. The background of this research lies in the growing interest in understanding how contemporary Indonesian songwriters construct meaning through linguistic choices that contribute to the emotional depth of their works. The objective of this study is to analyze how open class words such as nouns, verbs, adjectives, and adverbs contribute to semantic imagery, while closed class words such as pronouns, conjunctions, prepositions, and aspects establish grammatical cohesion and narrative continuity. Using qualitative descriptive methods, the lyrics were segmented, categorized, and interpreted based on linguistic theory to reveal the semantic and grammatical roles of each word class. The findings show that open class words dominate the emotional and metaphorical landscape of the songs, functioning as carriers of imagery, personal vulnerability, and symbolic representation of healing, love, and existential reflection. Meanwhile, closed class words serve as structural anchors that link ideas, mark relationships between clauses, and maintain narrative fluidity, particularly in expressing inner conflict and the resolution of emotional war depicted in the lyrics. The study concludes that Nadin Amizah’s lyricism is not only aesthetically expressive but also linguistically strategic, revealing a deliberate interplay between lexical creativity and grammatical precision. These findings imply that linguistic analysis can enrich the appreciation of contemporary Indonesian music and open new perspectives for future studies in stylistics, discourse analysis, and cultural semantics.

This study explores the dissemination of Sufi teachings through the TikTok account @Al.Amiin.id, highlighting how visual aesthetics, symbolism, and narrative techniques play a role in conveying spiritual messages to young audiences in the digital era. Using a qualitative approach with a critical case study strategy, this research analyses how elements such as colour, light, music, and spiritual metaphors are combined with reflective emotional narratives to preserve the depth of Sufi teachings. Drawing on Stig Hjarvard’s perspective on the mediatization of Religion, the study examines how social media not only functions as a channel for message dissemination but also reshapes religious practices and experiences. The findings reveal that @Al.Amiin.id successfully utilises the logic of digital media—such as short duration, visual aesthetics, algorithms, and trends—as instruments to present Sufism in the form of personal and easily comprehensible micro-narratives. This strategy demonstrates that Sufi preaching undergoes a process of mediatization, in which spiritual values are not merely transmitted but also reconstructed to align with the consumption patterns and cultural sensibilities of digital generations. The study further emphasises that despite the risks of commodification and simplification, Sufi preaching on social media can still preserve its spiritual depth through adaptive approaches. This research contributes to the study of how religious practices are transformed by digital media, offering a model of Sufi preaching that is communicative, inclusive, and relevant in the era of algorithms.

This study aims to analyze the semantic shift in language within digital culture through the perspectives of linguistics and the philosophy of language. The focus of the study is directed toward the phenomenon of memes, emojis, abbreviations, and popular expressions that have rapidly developed on social media platforms and often deviate from their standard meanings. The research employs a descriptive qualitative method using content analysis combined with a philosophical literature review. Data were obtained from various digital platforms such as Instagram, TikTok, and Twitter/X, as well as relevant academic sources. The results indicate that semantic shifts in digital language occur through patterns of meaning expansion, metaphorization, polysemy, and linguistic innovation. From the standpoint of the philosophy of language, these findings align with Wittgenstein's meaning is use theory and Austin's speech act theory, both of which emphasize that meaning is determined by the practical use of language and speech acts within social contexts. Thus, the changes in meaning in digital culture are not merely linguistic but also reflect the social, cultural, and technological dynamics that shape modern communication patterns.

This study aims to analyze and compare the poems Anant Prem by Rabindranath Tagore and Tentu, Kau Boleh by Sapardi Djoko Damono. The research employs a descriptive qualitative approach focusing on several literary aspects, namely the central theme, tone and atmosphere, diction, characterization, conceptual meaning of love, and philosophical perspective. The findings indicate that both poems share similarities in presenting love as a profound emotional experience, expressed through intimate and reflective nuances. Each poem portrays emotionally intertwined characters whose inner experiences revolve around the presence of love as a central force. Despite these similarities, the two poems differ significantly in how they interpret and narrate love. In Anant Prem, Tagore frames love as eternal and transcendent, surpassing the confines of time and space. This creates a contemplative and spiritual tone supported by metaphorical and symbolic diction. Meanwhile, Tentu, Kau Boleh portrays love as an immediate and personal experience rooted in everyday human interactions. Sapardi expresses love through calm, straightforward language that reflects simplicity and emotional closeness. Philosophically, Tagore positions love as part of cosmic existence, whereas Sapardi views it as a presence embodied in the warmth and intimacy of daily human life. These distinctions highlight how cultural background, worldview, and poetic tradition influence the depiction of love in both works.

This study examines the concept of the Great Filter as a metaphor to explain why only a few Islamic missionary organizations and startups are able to survive amidst digital disruption, while many others fail. Disruption, characterized by rapid changes in technology, regulations, and societal behavior, creates significant pressure that demands high levels of adaptability and innovation. This study uses a qualitative method based on a literature review by analyzing various literature related to entrepreneurship, digital missionary work, and dynamic capabilities. The results show that the success of Islamic missionary organizations in facing disruption is determined by a combination of visionary leadership, continuous innovation, mastery of digital technology, and the organization's ability to learn and adapt. Conversely, failure is often caused by limited funding, minimal innovation, and weak digital strategies. Thus, the Great Filter can be understood as a natural selection process that only resilient, adaptive organizations can overcome, and is able to combine spiritual values with entrepreneurial innovation.

This research aims to understand how the meaning of loss is constructed in the lyrics of the song “Cutting My Fingers Off” by Turnover, using Ferdinand de Saussure’s semiotic approach. The song was chosen as the object of study because it expresses the emotion of loss intensely through poetic and emotional lyrical symbols. According to Saussure’s theory, meaning is formed through the relationship between the signifier and the signified, where words in the lyrics function as signs that carry deep meaning. This study uses a descriptive qualitative method with interview, textual analysis techniques, supported by literature review and observation of listener Turnover’s “Cutting My Fingers Off”. The analysis involves breaking down each verse to identify signifiers and signifieds that shape the emotional meaning of loss. The findings show that the lyrics reflect not only physical loss but also psychological experiences such as alienation, regret, and severed emotional attachment. Symbols like “Cutting My Fingers Off” form a visual metaphor for deep emotional pain. This research concludes that music particularly lyrics is an effective medium of symbolic communication to convey personal experiences. “Cutting My Fingers Off” successfully constructs a complex meaning of loss that resonates personally with its listeners.

This study examines youth slang (Jugendsprache) in the film Into the Beat (2020) through semantic and morphological approaches. The background of the research is based on the phenomenon of youth language development, which is dynamic, creative, and rich in socio-cultural meaning, yet often difficult for foreign speakers to understand. Youth language is chosen as the object of study because it reflects identity, group solidarity, and the communicative creativity of young people, and frequently appears in media, particularly films. The theoretical framework refers to experts’ perspectives on the characteristics of youth language, including the use of Anglicisms, abbreviations, metaphorization, and the formation of neologisms. The research method applied is descriptive qualitative, with data sources taken from the dialogues and subtitles of the film Into the Beat. The analysis is carried out based on Helmut Henne’s theory of youth language characteristics. The results reveal that youth slang in the film functions not only as a means of communication but also as a medium of emotional expression, lifestyle, and identity construction among German adolescents. Vocabulary such as alter, bro, krass, cool, and scheiße demonstrates creativity in morphological processes, including abbreviation, prefixation, and borrowing from foreign languages. The study concludes that youth slang plays an essential role in shaping characters, inter-character relationships, and the authenticity of the storyline. Furthermore, youth language reflects the evolving cultural and social dynamics of adolescents. This research is expected to contribute to linguistic studies, particularly semantics, and to serve as a valuable resource in German language learning by expanding vocabulary and fostering an understanding of authentic communication patterns among German teenagers.

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.