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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.

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 aims to examine the figurative meanings in the poem "Guru" by Muhammad Asqalani eNeSTe through a semantic approach. The poem portrays the struggle and dedication of a teacher who devotes themselves to serving in a remote area with deep love and sacrifice. This research adopts a qualitative method with content analysis techniques by conducting a document study of the poem's text. The analysis reveals that the poem is rich in figurative language, including metaphor, personification, hyperbole, metonymy, synecdoche, and simile. Each of these figures of speech is employed to depict the social, emotional, and spiritual conditions of the teacher and the environment in which they serve. The use of figurative meaning in the poem not only beautifies the language but also strengthens the moral messages, educational values, and appreciation of the teaching profession. By understanding these figurative meanings, readers can grasp deeper humanistic and simplicity values embedded in the realm of education.

This study aims to examine the figurative meanings in the poem "Guru" by Muhammad Asqalani eNeSTe through a semantic approach. The poem portrays the struggle and dedication of a teacher who devotes themselves to serving in a remote area with deep love and sacrifice. This research adopts a qualitative method with content analysis techniques by conducting a document study of the poem's text. The analysis reveals that the poem is rich in figurative language, including metaphor, personification, hyperbole, metonymy, synecdoche, and simile. Each of these figures of speech is employed to depict the social, emotional, and spiritual conditions of the teacher and the environment in which they serve. The use of figurative meaning in the poem not only beautifies the language but also strengthens the moral messages, educational values, and appreciation of the teaching profession. By understanding these figurative meanings, readers can grasp deeper humanistic and simplicity values embedded in the realm of education.

This research explores how figurative language shapes the depth of emotion and psychology in the poem Mirror by Sylvia Plath. Through a qualitative method with a literature study approach, this research aims to identify the types of figures of speech used and explain how these elements convey the lyricist's inner conflicts related to identity, aging, and self-perception. The analysis shows that Plath consciously uses personification, metaphor, simile, and symbolism to build a reflective and emotionally charged atmosphere. The mirror in this poem is not just an inanimate object, but is present as a conscious observer who speaks, judges, and becomes a silent witness to the aging process and identity crisis of the female character. Through metaphorical and symbolic imagery, the mirror transforms into an inner lake-space that reflects the search for self. The poem closes with an evocative simile, describing the deep fear of realizing one's fading youth. This study shows that Plath's use of similes is not only to embellish the poem, but as an important channel to express fears and emotional vulnerabilities that are often difficult to verbalize. The findings are expected to enrich literary discussions on how poetic language can reveal the complexity of human experience with clarity and intensity.

The development of digital technology has given birth to a new form of presentation of literary works, one of which is cyber literature. The short story “Sepotong Senja untuk Pacarku”by Seno Gumira Ajidarma, published on the medium.com site, is an example of how literary works are transformed in digital space, combining visual elements, interactivity, and hypertextuality. This study aims to analyze the short story “Sepotong Senja untuk Pacarku” by Seno Gumira Ajidarma through a structural approach. The method used is a qualitative method with a literature study technique. The results of the analysis show that this short story has a romance theme, uses a forward plot, first-person point of view, a poetic language style using various figures of speech, and a story message about love that encourages actions beyond logic. The main character is depicted as a romantic and unyielding figure. In addition, the presentation in digital media enriches the reader's experience through supporting images, comment features, and intertextual relationships with other short stories. This short story shows the typical characteristics of cyber literature, namely interactivity and intertextuality that allow for the expansion of meaning in the story.

This study aims to reveal the physical and spiritual elements in Heri Isnaini's poems, namely "Kita", "Aku Menunggu Bunga", "Kita Jalan Berdua", and "Mengetuk Ketukan". In terms of physical elements, the analysis includes diction, imagery, concrete words, figures of speech, rhyme, and typography used by the poet to build the beauty and meaning of the poem. Spiritual elements include themes, feelings, tones, and messages that reflect the poet's attitude towards life, love, and human existence. The results of the analysis show that Heri Isnaini uses a lot of simple but meaningful diction, as well as metaphors and personifications that strengthen the emotional nuances. Visual imagery and feelings are dominant in creating a deep poetic atmosphere. Themes such as waiting, togetherness, love, and the search for the meaning of life are the common thread of the entire poem. With a stylistic and hermeneutic approach, it can be concluded that these poems not only reveal the poet's personal expression, but also reflect universal human experiences.

The song "Hujan" is one of the songs popularized by the band Utopia, a band from Indonesia. The band Utopia is known as a pop-rock music genre and Utopia was formed in the 2000s and the song "Hujan" is a song released in 2007 which has strong vocals and a melancholic melody that makes it one of the musical works that is interpreted as an expression of feelings of sadness and longing that are hard to forget. In addition to its touching melody, the strength of the lyrics of this song also lies in the use of language style and figures of speech that enrich the meaning and emotions that are intended to be conveyed. Then the rain of Utopia itself describes the mood and feelings buried in sadness and silence accompanied by the falling rain. Through the lyrics, the singer expresses deep feelings for someone who has left, while reminiscing about the beautiful memories that once existed and this song describes how rain becomes a friend of loneliness and sadness and becomes a reminder of the unforgettable past

The quote "We Must Be Old" from Fourtwnty is not just a song, but a journey within oneself. Through rich and meaningful lyrics, we are invited to reflect on life and the process of growing old. Like poetry that is pleasant to listen to, but also makes us think deeply. His choice of words is topnotch. "White hair", "creased forehead", and "low energy" describe the aging process that we all experience. These straightforward and touching words make us look back, look at the journey of our lives, and think about how precious the passing of time is. Apart from word choice, these lyrics are also good at playing with language styles. There are similes like "steps that used to be nimble, now are limping" and personifications like "time keeps turning around." This style of language not only makes the lyrics cute, but also reminds us that aging is a natural thing and we must accept it gracefully. The lyrics are neatly arranged and the sentences vary in length. There are short sentences that are catchy, there are also long sentences that are full of meaning. This combination makes the song enjoyable to follow and the moral message is even more touching to the heart. "We Must Be Old" is more than just a song. This is Fourtwnty's invitation to make us reflect on the meaning of life, accept aging, and understand how precious time is. Every second is precious and will never come back again.

This article contains an analysis of the language style and figures of speech in the lyrics of the song "Sampai Jadi Debu" by Banda Neira. The discussion in this article focuses on the diction aspect of connotation and the use of figures of speech contained in the song's lyrics. The research method used to analyze the song lyrics is a qualitative descriptive method. The analysis carried out shows that the diction contained in the song lyrics is connotative. The connotative diction used in the song's lyrics is a manifestation of the creative thoughts of the songwriter when creating the lyrics for his songs. Apart from that, the song's lyrics use many figures of speech including metaphors, allegory figures of speech, and hyperbole figures of speech.

Poetry, as a form of literary work, contains intrinsic elements that are interrelated and shape its meaning. In the poems Hujan Bulan Juni and Tentang Matahari by Sapardi Djoko Damono (1994; 1996), intrinsic elements such as physical and spiritual aspects play a significant role in conveying the message and meaning. Using the theories of Ivor Armstrong Richards (1947) and J.A. Richards (1929), this study examines elements such as line, stanza, rhyme, rhythm, figures of speech, and typography (physical elements), as well as theme, message, tone, and feeling (spiritual elements). This study aims to provide a deeper understanding of the role of these intrinsic elements in shaping the overall meaning of the poem. The research method used is descriptive analysis of the two poems. The findings suggest that these elements work together in delivering deep meaning through the structure and language used by the poet. Readers are encouraged to consider the relationship between form and meaning in understanding the message of the poems.

The research that has been carried out is entitled "Analysis of the Use of Figures of Speech among Stand Up Comedy Members" which aims to describe the style of language spoken by comics and explain the meaning of the language styles used, including comparative, affirmative, contradictory and satirical figures of speech. The theory in this research is a figure of speech. This type of research is qualitative, the source of the research data is the Youtube application, the research data is in the form of quotations of words that can be classified into a figure of speech based on the speech delivered by the comics.The research data collection technique is (1) Watching stand up comedy shows performed by comics on Youtube (2) Note down words that contain figures of speech and explain the meaning of figures of speech that have been conveyed by the comics (3) Collect secondary data by documenting things related to stand up comedy videos. The data analysis technique is carried out by (1) sorting the collected data, namely taking what is needed and what is not needed (2) marking the figures of speech used by comics when performing comedy with the aim of determining similar figures of speech (3) Drawing conclusions from the results of the analysis data obtained from start to finish. Based on data analysis and discussion, twenty five narrative research results were obtained

This article explores the richness of language styles and speech used in the lyrics of the song "Raksa" by Soegi Bornean. Against the background of the richness of the existing lyrics and the possibilities that exist in linguistic exploration as found in the title of the song "Raksa" which comes from a foreign language, namely Sanskrit, as well as the use of the song lyrics "Budaya nian bersua", and the aim of this research is to reveal The contribution of songs to the development of diction in song lyrics is due to the large number of vocabulary words in Indonesian that are rarely used. As well as the emotional power of using qualitative descriptive analysis methods to study the language style and figures of speech of the Raksa Song, this research will focus on deciphering the stylistic nuances and revealing the mosaic of metaphorical and idiomatic expressions. The research results further highlight the complexity of the rhetorical figures of speech contained in the song "Raksa" such as in the lyrics which read "Where I look for the soul" of the song, providing insight into its poetic resonance. Therefore, the use of language styles and figures of speech has spread to a deeper scale regarding song lyrics, and has enriched the appreciation of Indonesian songwriting.

This article explores the richness of language styles and speech used in the lyrics of the song "Raksa" by Soegi Bornean. Against the background of the richness of the existing lyrics and the possibilities that exist in linguistic exploration as found in the title of the song "Raksa" which comes from a foreign language, namely Sanskrit, as well as the use of the song lyrics "Budaya nian bersua", and the aim of this research is to reveal The contribution of songs to the development of diction in song lyrics is due to the large number of vocabulary words in Indonesian that are rarely used. As well as the emotional power of using qualitative descriptive analysis methods to study the language style and figures of speech of the Raksa Song, this research will focus on deciphering the stylistic nuances and revealing the mosaic of metaphorical and idiomatic expressions. The research results further highlight the complexity of the rhetorical figures of speech contained in the song "Raksa" such as in the lyrics which read "Where I look for the soul" of the song, providing insight into its poetic resonance. Therefore, the use of language styles and figures of speech has spread to a deeper scale regarding song lyrics, and has enriched the appreciation of Indonesian songwriting.

This study explores the impact of hyperbolic figurative analysis in the theme of the film "The Greatest Showman". By paying attention to the use of excessive language in narration and dialogue, this study reveals how hyperbolic figurative enriches the audience's experience and conveys deep messages in the context of the film's theme. By using an analytical approach and case studies from the film, this research provides new insights into the power and significance of hyperbolic figurative in audiovisual works of art.

This research discusses the analysis of language style in the lyrics of the song “Hati-Hati Di Jalan” by Tulus with a stylistic study. The reason the author chose this song is 1) The song lyrics have a language style that can be studied, 2) So that listeners know the meaning of the song they are listerning to, 3) The song lyrics can also be used as teaching material for Indonsian language subjects. The problems formulations of this research is “What is the language style of the lyrics of the song Hati-Hati Di Jalan by Tulus?” The research method used is descriptive qualitative with note-taking techniques. Based on the research result, there are three types of language found in song lyrics, including comparative figures of speech, affirmative figures of speech, and satirical figures of speech.

The study is intended to identify the use of figures of speech (majas), describing the words of heri isnaini's "love maqomat" poem. The source of data on this study is one of the poems of the heri isnaini poem called "light meditation," published in July 2017. This type of research involves qualitative methods. The theory used is that of sticism with the approach of sticism. The poem "maqomat of love" is analysed and discussed in a theological way to learn the implied meaning of the language heri isnaini through the application of style (majas), thus revealing the meaning of the poem "maqomat of love" clearly by the writer. This study of heri isnaini's maqomat love poem mentions that the language (majas) used is a form of retraction. The "reiteration" is a "pararism"; it is the "prescriptive" that describes something by repeating a word or a few words over and over again. A type of pararism applied to the poem "maqomat love" is anafora magician.

The study is intended to identify the use of figures of speech (majas), describing the words of heri isnaini's "love maqomat" poem. The source of data on this study is one of the poems of the heri isnaini poem called "light meditation," published in July 2017. This type of research involves qualitative methods. The theory used is that of sticism with the approach of sticism. The poem "maqomat of love" is analysed and discussed in a theological way to learn the implied meaning of the language heri isnaini through the application of style (majas), thus revealing the meaning of the poem "maqomat of love" clearly by the writer. This study of heri isnaini's maqomat love poem mentions that the language (majas) used is a form of retraction. The "reiteration" is a "pararism"; it is the "prescriptive" that describes something by repeating a word or a few words over and over again. A type of pararism applied to the poem "maqomat love" is anafora magician.

Poetry is part of a literary work that has aesthetic value and is visualized in verses with full meaning. The purpose of this study is to analyze poetry with an expressive approach. The method used in this research is descriptive method with content analysis, by analyzing poetry with an expressive approach. Expressive is an approach in a very scientific and well-studied way. Because the expressive approach to poetry is based on our interpretation of a structured poem. So, previously poetry could not be understood by everyone who did not understand the world of literature because the words contained figures of speech (hyperbole in particular) became understandable to everyone who did not know about the world of literature because the words in the poem were interpreted in ordinary words. What used to contain a lot of figurative language became words that are common or easily understood by everyone.