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This study analyzes signs and symbols in Katherine Mansfield’s short story “The Doll’s House” (1922) using Charles Sanders Peirce’s semiotic approach. The study is descriptive qualitative in nature, employing data collection techniques such as close reading and note-taking. The analysis was conducted by classifying signs based on Peirce’s theory, icons, index, and symbols, through the triadic model (representamen, object, interpretant). The results of the analysis indicate that the doll’s house functions as both an icon and a symbol of social status and the false luxury of the upper class. Elements such as the smell of paint and the appearance of the Kelvey sisters serve as indices of social inequality. Meanwhile, the small lamp is the strongest symbol representing hope, warmth, and the possibility of transcending social class boundaries. Through this short story, Mansfield critiques class prejudices learned from childhood while conveying a message of empathy across social classes.

The phenomenon of emotional healing has become increasingly prominent in popular culture as the younger generation experiences increasing loss, emotional exhaustion, and numbness. Popular music serves as a medium of expression, representing these emotional dynamics through poetic language and symbolic structures. This study aims to analyze the emotional representation of healing in Umay Shahab's song "Perayaan Mati Rasa" using Roland Barthes's semiotic approach. The research method used is descriptive qualitative, analyzing three layers of meaning: denotation, connotation, and myth, through breaking down the lyrics into several lexicons and reading signs. The results show that (1) denotatively, the lyrics construct an emotional arc from inner tension to self-contemplation; (2) connotatively, the use of diction and imagery represents vulnerability, resilience, and emotional reflection; and (3) at the mythical level, the song constructs release as a form of emotional maturity and loss as a process of identity formation. Thus, this song functions as a cultural representation in interpreting the process of emotional healing in popular culture.

Film is a communication medium capable of conveying moral messages to the public through a series of moving images, usually accompanied by sound. One such medium is the short film. "The waiting room" by Galih Firdaus, a production of PT Kereta Api Indonesia (KAI) released in April 2024 and received positive acclaim for its engaging plot and relevance to the audience's reality. This study aims to analyze the moral message in the film using Charles Sanders Pierce's semiotic theory, which emphasizes three main elements: Representation, Object, and Interpretant. The study used a descriptive qualitative approach with a content analysis method to uncover the moral meanings behind the film's scenes. The results found 15 scenes that explicitly convey moral values, including the importance of open communication within the family, the meaning of simple kindness, valuing togetherness, the commitment of true love, a mother's fortitude, loyalty in waiting, and sincere care. The moral message is constructed through Representation (physical signs such as a bowl of soto), Object (the reality conveyed, such as an apology), and Interpretant (the audience's understanding that the soto symbolizes improving relationships). In conclusion, the film "The waiting room" successfully conveys a strong moral message through a neatly structured narrative.

Penelitian ini mengkaji identitas visual merek Pia Saronde—salah satu produk kuliner khas Gorontalo—dengan menggunakan pendekatan semiotika yang berlandaskan teori Roland Barthes. Sebagai salah satu UMKM yang bergerak di sektor pangan, merek ini sangat bergantung pada peran logo untuk membentuk persepsi konsumen, memperkuat posisi merek, serta membedakannya dari produk lain dalam persaingan pasar. Penelitian ini bertujuan menelaah struktur visual yang membentuk logo, menginterpretasikan makna denotatif dan konotatif yang muncul, serta menilai sejauh mana logo tersebut mampu merepresentasikan nilai-nilai budaya lokal. Penelitian ini menggunakan metode deskriptif kualitatif dengan memadukan pengamatan visual terhadap logo dan kajian pustaka yang relevan. Hasil analisis menunjukkan bahwa kombinasi warna kuning dan coklat pada logo mampu menimbulkan kesan hangat, manis, dan menggugah selera, sedangkan bentuk tipografi yang melengkung menghadirkan citra tradisional, akrab, dan bernuansa rumahan. Selain itu, penggunaan nama “Saronde” menciptakan hubungan simbolis dengan Pulau Saronde yang terkenal, sehingga memperkuat keterikatan merek terhadap identitas daerah. Secara keseluruhan, temuan penelitian ini menunjukkan bahwa logo tersebut berhasil mengomunikasikan keterkaitan budaya dan citra kuliner yang diusung produk. Meskipun demikian, penelitian ini merekomendasikan adanya pengembangan pada beberapa elemen simbolik dan peningkatan adaptasi visual untuk kebutuhan media digital guna memperkuat daya saing merek.

This study examines the presentation of trauma in the character of River in the film “The Architecture Of Love” through Roland Barthes' semiotic analysis, which includes three levels of meaning: denotative, connotative, and mythological. The focus of this study is on scenes that reflect trauma, categorized according to Cavanagh.M. (1982) theory as situational, developmental, intrapsychic, and existential trauma. The methodology used is descriptive-qualitative with documentation and observation techniques, where all trauma scenes are identified and analyzed in depth. The results of the study show that intrapsychic trauma is the dominant category, followed by existential, situational, and developmental trauma. The representation of trauma in the character River is conveyed through visual symbols such as dark colors, a closed language system, dim lighting, and a quiet urban atmosphere, which create emotional meaning without verbal expression. This finding confirms that films can convey complex psychological experiences through visually rich language, while also revealing new insights into non-verbal communication in film media.

The film "Ranah 3 Warna" (Ranah 3 Warna) is adapted from the novel "Ranah 3 Warna" by Ahmad Fuadi. "Ranah 3 Warna" explores various aspects of human life. It depicts how differences in social class can lead to conflict. The researcher aimed to determine how social class is portrayed in the film. The purpose of this study was to determine how the film "Ranah 3 Warna" represents, displays, and conveys messages about social class. Based on this, the researcher chose this film for research and analysis using Karl Marx's class theory. This research method employed a qualitative research design with a descriptive study approach. Data collection in this study utilized library research. The approach used in this study was content analysis, with the researcher employing purposive sampling to obtain more in-depth data. The results of this analysis show scenes in the film that present social conflict through scenes and conflicts, particularly those involving the main characters. The Randai family represents the upper class and the Alif family represents the lower class, leading to several social inequalities.

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 research aims to examine how betrayal is represented in the film The Last Supper (2025). The study employs a qualitative approach using John Fiske’s semiotic theory, which focuses on three levels of codes: reality, representation, and ideology. Data were collected through visual observation of the film’s scenes and analyzed to identify signs and underlying meanings within the actions of the characters. The findings reveal a total of nine betrayal scenes, segmented into 52 image shots that were analyzed in depth. These scenes primarily depict the betrayals committed by Judas Iscariot and Peter against Jesus Christ. The analysis shows that betrayal is not merely presented as a dramatic motif but is constructed as an ideological representation that reflects power relations, social pressure, and human moral dilemmas. The film serves as a cultural text that constructs meaning through visual symbols, gestures, expressions, and dialogue. As such, it can be interpreted as a form of social criticism against systems of power that influence individual behavior. Therefore, the film functions not only as entertainment but also as a discursive space that voices fundamental human issues.

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

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

This study aims to analyze the representation of national values and friendship in the film Sekawan Limo using Roland Barthes’ semiotic approach. The film was selected because it combines horror elements with strong local cultural nuances, making it interesting to examine from the perspectives of visual communication, culture, and social values. The research employed a descriptive qualitative method, with primary data drawn from scenes, dialogues, visual symbols, and narratives within the film. The analysis was conducted through Barthes’ three levels of semiotics: denotation, connotation, and myth. At the denotative level, the film presents visual and verbal signs depicting character interactions and the cultural background of society. At the connotative level, these signs convey deeper meanings related to national values, such as respect for local culture, the importance of unity, and love for the homeland. Meanwhile, friendship values are reflected through solidarity, empathy, mutual support, and sacrifice among the main characters as they face conflicts together. At the myth level, the film illustrates how popular culture can serve as a medium for delivering moral and ideological messages, particularly the importance of preserving national identity while fostering strong bonds of friendship. The findings highlight that local films function not only as entertainment but also as an effective communication medium to convey national and social values to a broader audience. Thus, Sekawan Limo demonstrates that film plays a strategic role in strengthening cultural awareness while instilling moral values.

Film as a form of mass media has an important role in the socio-cultural, artistic, political, as well as scientific realms. Cek Toko Lado 2 is a continuation of the story of the Chinese family of Koh Afuk which is in the comedy genre and directed by Ernest Prakasa. This film not only presents entertainment, but also presents family dynamics, parental expectations, and challenges in maintaining family business while building trust between fellow family members. The stories presented are able to illustrate the social reality of urban communities who are often faced with a dilemma between family interests and individual freedom. The purpose of this research is to analyze the struggle of Erwin's character in fighting for his love for Natalie and his efforts to get the blessing of his future in-laws. The research method used is qualitative with the approach of Charles Sanders Peirce's semiotic theory. The data source was obtained through direct observation of scenes and dialogues in the film, and reinforced by documentation and literature studies. The results of the study show that Erwin's struggle can be understood through three main elements in Peirce's semiotics, namely sign, object, and interpretant. First, the spirit of never giving up is reflected in Erwin's consistency in facing various obstacles. Second, the attitude of responsibility can be seen from Erwin's commitment to his career and the romantic relationship he is living. Third, the willingness to sacrifice is evident when Erwin prioritizes personal interests in order to gain the blessing of Natalie's family. In conclusion, this study emphasizes that films not only function as a means of entertainment, but also as a social learning medium that conveys moral messages about struggle, sacrifice, and the importance of trust in family relationships and romance. Thus, Cek Toko Lado 2 is able to be a relevant and inspiring social reflection for the audience, especially urban people who are facing the dynamics of family life and love.

This study aims to uncover the meaning of loyalty and sacrifice in the lyrics of the song "Sumpah dan Cinta Matiku" by Nidji through Roland Barthes' semiotic approach. The analysis is conducted at three levels of meaning, namely denotative, connotative, and myth, to understand how song lyrics form emotional messages as well as ideologies in Indonesian popular culture. At the denotative level, a literal meaning is found regarding the pledge of loyalty and commitment of love between two people who are emotionally bound to each other. The connotative level displays emotional and cultural meanings in the form of a willingness to sacrifice and steadfastness in maintaining love, which is often depicted as a heroic and struggle-filled act. Meanwhile, at the mythical level, this song brings up the ideology of romantic love that is absolute, eternal, and demands unconditional sacrifice, as often found in love narratives in other popular media. Lyrics such as "Sumpah mati hanya kau yang kucinta" and "Meski badanku has become one with the ground, cintaku tetap hidup bagi bagi" reflect the cultural construction that true love must be proven by suffering, extreme loyalty, and even sacrifice of life. This meaning emphasizes that love is not merely an emotional connection, but a form of total devotion that cannot be shaken by any circumstances. This song indirectly instills the idea that love means being willing to lose everything, including one's life, to maintain that love. The results of this study indicate that these songs not only convey personal messages of love but also play a role in shaping and perpetuating the myth of love in society. This finding is reinforced by various previous studies that state that popular music plays a role as a medium for reproducing cultural values, particularly regarding idealized, sacrificial, and irrational love.

This study explores the meaning of love and courage in the lyrics of Nadin Amizah's song "Taruh". Music serves as a cultural medium that reflects the construction of social reality, and song lyrics often become a space for expressing personal and collective experiences. The song "Taruh" illustrates the emotional complexity present in human relationships, particularly in interpreting the feelings of love intertwined with acts of bravery. This research employs Ferdinand de Saussure's semiotic theory by examining the syntagmatic and paradigmatic relations within the song's lyrics. The descriptive qualitative method is applied, with data obtained through non-participant observation and literature study. The findings indicate that the lyrics of "Taruh" do not portray an idealized version of love; instead, they express a more realistic view of love as something that includes pain, vulnerability, and imperfection. Interestingly, within those imperfections, there is a profound sense of courage—a willingness to endure, to remain, and to accept wounds as a part of emotional life. The syntagmatic analysis highlights how the arrangement of words in each stanza reflects stages of emotional struggle, longing, acceptance, and resilience. On the other hand, the paradigmatic analysis reveals that while alternative words could have been chosen, the selected diction intensifies the emotional nuance without shifting the central message of the narrative. Overall, the song constructs a layered narrative of love, where courage is found not in grand gestures but in silent endurance. This study shows how popular music, through its poetic structure, can communicate complex emotional truths and contribute to deeper cultural understandings of human emotion.

The term overthinking has become part of the everyday vocabulary among Generation Z, reflecting a tendency toward excessive deliberation in ordinary situations, including choosing food. The “Overthinking” advertisement by GoFood presents a compelling visual representation of this dilemma through metaphorical symbols such as a talking forehead, piles of clocks, and zodiac characters that construct a complex visual narrative of indecision. This study aims to examine how symptoms of overthinking are visually represented in the advertisement using Roland Barthes’ semiotic approach. The research employed a qualitative method, utilizing observation and documentation techniques to analyze visual structures across scenes. The findings reveal that the advertisement conveys its message through denotative, connotative, and myth-based signs, illustrating how Generation Z interprets the burden of choice in a digital cultural context. The results demonstrate how visual communication strategies can foster empathy while offering solutions to the everyday anxieties of a young audience. This study contributes to the development of visual semiotics discourse in the field of visual communication design and offers insights for advertising practices grounded in social issues.

This study aims to describe the form, meaning, and socio-cultural function of the register of language use in the short story Filosofi Kopi by Dee Lestari. The method used is descriptive qualitative with content analysis techniques, Halliday's register theory, and Lotman's cultural semiotics. The results of the study show that the form of register in this short story includes words (espresso, latte, cappuccino, macchiato), nominal phrases (filosofi kopi, signature coffee, kopi tiwus), idiomatic phrases (kopi paling flirtit), and metaphors (espresso as a life without nonsense, latte as a warm hug). The meaning of the register is divided into primary meaning (literal) and secondary meaning (cultural and symbolic) which construct the values ​​of masculinity, gentleness, beauty, spirituality, and idealism of the characters. The socio-cultural functions of the register include community identity, expressive, evaluative, symbolic, narrative aesthetic, and ideological functions. This research supports Halliday's theory on the relationship between register and situational context, as well as Lotman's theory, which views literary language as a secondary modeling system that represents social and cultural realities. The results are expected to enrich the study of literary sociolinguistics and serve as authentic and contextual teaching materials for Indonesian language and literature in secondary schools.

This study aims to analyze the symbolic meanings contained in the lyrics of the song “One Last Breath” by the band Creed using Charles Sanders Peirce’s semiotic theory. The song was selected due to its strong themes of existential crisis, despair, and hope, which are expressed through rich and meaningful linguistic signs. The method used in this research is qualitative descriptive, employing Peirce’s triadic model of signs—icon, index, and symbol—as the basis of data analysis. The primary data source consists of selected lyrics, which were examined to identify the types of signs and their interpreted meanings. The findings reveal that the song's lyrics are filled with emotional symbols reflecting the protagonist's psychological condition, such as the phrase “six feet” as an icon of death, “falling” as an index of mental collapse, and “last breath” as a symbol of the remaining hope. The song also represents Western cultural values related to openness about mental health issues. It is concluded that “One Last Breath” functions not only as a musical work but also as a reflective medium that conveys profound messages about the human struggle and existential meaning. This study is expected to contribute to the development of semiotic analysis in music lyrics and inspire future research on other musical genre.

This research uses a qualitative method with Roland Barthes’ semiotic analysis approach to examine the meanings of visual and narrative signs in the 2025 Marjan Ramadan commercial. This advertisement was selected due to its rich symbolic elements and its significant role in shaping public perception and emotion during the holy month. Utilizing Barthes’ concepts of denotation, connotation, and myth, this study aims to uncover hidden meanings behind visual elements such as colors, lighting, character gestures, and storyline narration. Preliminary findings indicate that the Marjan advertisement not only promotes a syrup product but also encapsulates values of togetherness, tradition, and religiosity through cinematic visuals. Symbols like family dining tables, drums (bedug), and twilight lighting are interpreted as modern myths portraying an idealized Ramadan that is warm and harmonious. Therefore, this advertisement can be viewed as a form of cultural communication that conveys ideological messages through visual symbols familiar to Indonesian society.

This research analyzes the Marjan advertisement featuring the Putri Hijau version to understand the meanings embedded in its visual elements using Roland Barthes'semiotic approach. The study employs a descriptive qualitative analysis method by dividing the advertisement into several parts through screenshot capture. The analysis is conducted by identifying the denotative and connotative meanings of the advertisement's elements. The findings indicate that this advertisement presents a complex cultural narrative and conveys a specific ideological message to the audience. This study provides insight into how advertisements can serve as an effective persuasive communication medium in conveying cultural and commercial values.

This research discusses the representation of Quranic values in the movie Setetes Embun Cinta Niyala through the Charles Sanders Peirce semiotic approach. Movies as visual media are not only entertainment, but can also be a means of da'wah and moral education. This research aims to reveal how the sign structure (icon, index, symbol) is used to represent Quranic messages, and how the meaning of the sign is interpreted by audience. The method used is descriptive qualitative with observation techniques of scenes in the movie that contain Islamic values. The analysis technique was carried out using the Charles Sanders Peirce Semiotics method. The results of the analysis show that this film explicitly and implicitly displays Quranic messages through visual representations (prayer rugs, prayers, social interactions) and verbal (dialog, quotations of Qur'anic verses). Values such as tawakkal, filial piety, honesty, brotherhood, and sharia restrictions on marriage are displayed by referring to the verses of the Qur'an, which are reinforced through symbolic meaning based on Peirce's theory. This research shows that film can be an effective medium in conveying religious and moral messages, especially when the signs in the film are analyzed in depth through a semiotic approach.