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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 aims to analyze the song “Bayar Bayar Bayar” using the Critical Discourse Analysis (CDA) approach based on Teun A. van Dijk’s model. The song was selected due to its explicit criticism of corruption and abuse of power within the Indonesian police institution. The analysis covers three main dimensions in Van Dijk’s theory: discourse structure (macrostructure, superstructure, and microstructure), social cognition, and social context. The analysis reveals that thematically, the song represents the collective experience of society in facing bureaucratic injustice, particularly in the form of illegal levies by the authorities. Its repetitive and straightforward superstructure strengthens the main message. At the microstructural level, the use of direct language, punk-styled stylistics, and the rhetorical repetition of “bayar polisi” (pay the police) create a provocative effect and reinforce the social critique being delivered. In terms of social cognition, the song reflects the public's mental model of the police as an institution that perpetuates social inequality rather than acting as a neutral protector. From a social context perspective, the song emerges from the reality of unequal power relations between citizens and authorities, serving as a symbolic form of resistance against hegemonic power structures. “Bayar Bayar Bayar” is thus not only a musical work but also an ideological expression with critical discourse value in advocating for social justice.  

This research aims to determine the types of language styles used by the main female character in the novel "Mariposa" by Luluk HF and to analyze the meaning and function of these language styles in building character characterization. The problem that will be raised in this research is the form and variations of language styles that appear in the dialogue and monologue of the main character, as well as the role of these language styles in revealing the psychological dimensions of the character. The method used is a qualitative descriptive method with a stylistic approach, where data is collected through reading and note-taking techniques for quotations that contain language styles in the novel. The results of the analysis show that there are five dominant language styles used by the main character, namely metaphor, hyperbole, personification, simile, and repetition. This language style functions to describe the character's feelings, strengthen the delivery of the message, and build an atmosphere in the story. This research has the potential to become a reference for the development of stylistic studies of contemporary Indonesian literature and can be used as learning material for stylistic analysis at the tertiary level as well as for similar research with a focus on other linguistic aspects.

Figurative speech is inseparable with literary works, particularly to express intrinsic elements in the works. Practically, authors often insert figurative speech to narrate a story. This study is aimed at analyzing figurative speeches in novel Senja, Hujan, dan Cerita Yang Telah Usai, written by Boy Candra. The researcher employed literary study to finish the study which initiated by (i) reading the research object, (ii) collecting the data by marking, identifying, and transcribing. The data were analyzed by using interactive model of analysis. The result showed that the author used 6 types of f igurative speeches to describe both the setting and character, as follows; (1) allegory, (2) (2) alusio, (3) antitesis, (4) asindenton, (5)Klimaks, (6)interupsi. The result of the study strongly suggested that the use of figurative speech is clearly necessary to improve the quality of literary works.

The poem ‘Bila Kau Tiada’ by Boy Candra is one of the most popular poetry works among readers. This poem raises the theme of loss and sadness experienced by a poet over the departure of a loved one. This article aims to analyse the poem ‘Bila Kau Tiada’ using content and stylistic analysis approaches. The content analysis will concentrate on the theme, meaning, and message conveyed in the poem, whereas the stylistic analysis will examine how the poet employs language to convey meaning and its impact on the reader.    

This research is entitled Translation Techniques on Official Soundtrack of Moana Film’s Song. This research was aimed at identifying translation techniques in Official Soundtrack of Moana Film “How Far I’ll Go” Song in Indonesian Version. This research used a qualitative method to analayze the translation techniques in the Official Soundtrack of Moana Film “How Far I’ll Go” Song in Indonesian Version. There were some steps in analysing the existing data. The first step was selecting the data, the second was identifying the  data, the third was classifying the data, the fourth was analyzing the data, and the last was making conclusions and suggestions. Based on the analysis, the writer concluded that there were 6 translation techniques used in OST Moana: How Far I’ll Go. According to the data, the researcher found 32 data containing several translation techniques, namely: 1 (3,13%) data with amplification technique; 1 (3,13 %) data with Literal Translation technique; 6 (18,75%) data with discursive creation technique; 1 (3,13%) data with Particularization technique; 7 (21,88%) data with  reduction technique; and 16 (50%) data with Established Equivalence technique. According to the results of analysis, the dominant type of translation technique is Established Equivalence. It has the highest frequency of the data, as there were  16 data (50%). This technique used terms or expressions that were recognized   as equivalents in the target language. It was used for describing the same situations through different stylistic or structural expressions. The translator translated the utterances from the source language into the target language using the established equivalence technique since the translator used terms or words that were more familiar in the target language, so the message could be well delivered to the target language.

This study aims to describe (1) the forms of metaphor in the novel Conspiracy of the Universe by Fiersa Besari, (2) the function of metaphor in the novel Conspiracy of the Universe by Fiersa Besari. This research focuses on looking for forms of anthropomorphic, animal, abstract to concrete, synaesthetic metaphors and looking for the function of metaphorical language style which consists of personal, interpersonal, directive, referential, and imaginative functions. This study uses a descriptive qualitative research method. The researcher uses a stylistic review to analyze the forms of metaphors and the functions of metaphors in this study. The research data are in the form of quotations, words, phrases, clauses, and sentences which contain metaphorical language styles. The results of this study show that the most dominant form of metaphor in this novel is synaesthetic metaphor. The contents of this novel contain many synaesthetic metaphors to deepen what the author conveys in the story so that the story is interesting with the expressions included by the author. The metaphorical language style is presented by inserting a message of the reader's sensitivity in interpreting each series of stories. Meanwhile, the function of the dominant style of language in this novel is the directive function. The directive function in this novel shows that the characters in the story tend to express their desires directly by giving orders or requests to the interlocutor, to do something the speaker wants.

This article discusses the structural study of the poetry “Kekasihku” by Joko Pinurbo. The focus of the discussion of this article is to describe the physical structure and inner structure of the poetry which is carefully described in the form of words, sentences and discourse. This research method is descriptive qualitative using a structural approach. The data source used as the object of research is one of the poetry contained in the book collection of poetry "Kekasihku" by Joko Pinurbo, published in 2004. The results and discussion in this article contain ( 1) the physical structure of poetry includes: (a) diction, (b) images, (c) figure of speech, (d) concrete words, (e) rhyme/rhythm, and (f) typography. The dominant physical structure is simple diction by creating communicative activities and not eliminating the aesthetic value of poetry. (2) The inner structure of poetry includes: (a) theme, (b) tone, (c) taste, (e) message. The element that dominates the inner structure of poetry is the feeling that creates inner experiences through writing.

This study discusses the use of diction, imagery, and figure of speech in the poem Aku Waiting for the Flower. The poem I Wait for Flowers is a poem that talks about someone who is waiting for someone they love very much. With beautiful poetry lines and contains very strong meanings and meanings. This study aims to: 1) Describe Diction 2) Explain imagery 3) Describe the figure of speech in the poem Aku Waiting Bunga. This research uses qualitative descriptive research. The data collection technique used is reading and note-taking technique and data analysis technique using descriptive analysis technique which includes description, classification, and analysis. The results of the research on the poem ''I am waiting for the flower'' have denotative and connotative diction, visual imagery, feeling imagery, and imagery. intellectual, as well as figure of speech personification and hyperbole  

  This research was conducted to examine a short story entitled "Nothing is crazy in this city" by Eka Kurniawan in an anthology of short stories entitled Love is not dead. In this short story study contains two study materials in it, namely the study of stylistics and structure in the short story "Nothing is crazy in this city". The stylistic study referred to according to Tuloli in Lafamane (2020) stylistics or stylistics in general talks about the use of a distinctive or special language, which is the hallmark of a writer, literary school, or also deviations from everyday language or from normal or normal language. standard, and so on. In this study, the short story contains aspects of the provisions of stylistic studies, such as sound style, sentence style, discourse slot gacor, figurative language and imagery. Then the short story has the stages of the short story as a coherent structure, including: Abstraction, orientation, complication, evaluation, resolution and code.