Kajian Linguistik dan Sastra (Kalistra) is a scientific journal of language and literature published by the Indonesian Literature Study Programme, FKIP Jambi University. Kalistra is published three times a year every May, September and January. Kalistra publishes the results of scientific research in language and literature studies which include theoretical linguistics, applied linguistics, interdisciplinary linguistics, oral tradition, philology, semiotics, pure literature, applied literature, interdisciplinary literature, and literature and identity politics. Every article published in Kalistra will go through an assessment process by peer reviewers. E-ISSN: 2963-7988 P-ISSN: 2963-8380 <p style="box-sizing: border-box; line-height: 25px; margin: 20px 0px; color: rgba(0, 0, 0, 0.87); font-family: 'Noto Serif', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">Kajian Linguistik dan Sastra has New Accreditation in Sinta 5 by Ministry of Research, Technology, and Higher Education of the Republic of Indonesia, 2024 <p style="box-sizing: border-box; line-height: 25px; margin: 20px 0px; color: rgba(0, 0, 0, 0.87); font-family: 'Noto Serif', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">SINTA 5 NO. 177/E/KPT/2024 <p style="box-sizing: border-box; line-height: 25px; margin: 20px 0px; color: rgba(0, 0, 0, 0.87); font-family: 'Noto Serif', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">Start on Vol. 1 No 1, 2022 until Vol 5 No 3, 2026 <p style="box-sizing: border-box; line-height: 25px; margin: 20px 0px; color: rgba(0, 0, 0, 0.87); font-family: 'Noto Serif', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">Dear authors and readers of the Kajian Linguistik dan Sastra, <p style="box-sizing: border-box; line-height: 25px; margin: 20px 0px; color: rgba(0, 0, 0, 0.87); font-family: 'Noto Serif', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">We are thrilled to announce that our journal has been accredited and indexed in Sinta 5 by the Indonesian Ministry of Education, Culture, Research, and Technology. This accreditation is a testament to our commitment to publishing high-quality research in Humaniora field will increase the visibility and impact of your work within the academic community globally. <p style="box-sizing: border-box; line-height: 25px; margin: 20px 0px; color: rgba(0, 0, 0, 0.87); font-family: 'Noto Serif', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">We thank all our contributors for their hard work and dedication to publishing with us. It is through your efforts that we have achieved this significant milestone. Moving forward, we will continue to strive for excellence in our publishing and provide a platform for innovative and impactful research. <p style="box-sizing: border-box; line-height: 25px; margin: 20px 0px; color: rgba(0, 0, 0, 0.87); font-family: 'Noto Serif', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">We encourage you to submit your future work to the Titian: Jurnal Ilmu Humaniora and help us continue to build on our success. Thank you for your continued support, and congratulations on this achievement. <p style="box-sizing: border-box; line-height: 25px; margin: 20px 0px; color: rgba(0, 0, 0, 0.87); font-family: 'Noto Serif', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">Best regards, <p style="box-sizing: border-box; line-height: 25px; margin: 20px 0px; color: rgba(0, 0, 0, 0.87); font-family: 'Noto Serif', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">Rengki Afria <p style="box-sizing: border-box; line-height: 25px; margin: 20px 0px 0px; color: rgba(0, 0, 0, 0.87); font-family: 'Noto Serif', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">Editor Journal title Kajian Linguistik dan Sastra Initials Kalistra Frequency 3 issues per year (January, May, and September) DOI Prefix 10.22437/kalistra.v2i3 by Crossref ISSN E-ISSN 2963-7988 P-ISSN 2963-8380 Editor-in-chief Sovia Wulandari, S.S., M.Pd. Publisher Program Studi Sastra Indonesia, FKIP Universitas Jambi Citation Analysis Google Scholar |SINTA 5 | Garuda | ICI Copernicus Acceptance Ratio 40%
Prodi Sastra Indonesia, FKIP Universitas Jambi
Kalistra: Kajian Linguistik dan Sastra is licensed under Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish their manuscripts in Kajian Linguistik dan Sastra agree to the following terms: 1. The copyright in each article belongs to the author. 2. The author acknowledges that Kajian Linguistik dan Sastra reserves the right to be the first to publish under a Creative Commons Attribution-ShareAlike 4.0 International License (Attribution 4.0 International CC BY-SA 4.0). 3. Authors may submit articles separately, arranging for non-exclusive distribution of manuscripts that have been published in this journal to other versions (e.g., delivery to the author's institutional repository, publication into a book, etc.), acknowledging that the manuscript has been first published in Kajian Linguistik dan Sastra.
Kohesi Gramatikal dan Leksikal dalam Cerpen Bahasa Inggris Berjudul “The Ant and the Dove”
This study analyzes grammatical and lexical cohesion in the English short story entitled "The Ant and the Dove," using the theory of Halliday and Hasan (1976). This study is a qualitative study with a content analysis method. The short story was chosen as the data because of its concise yet complex form and requires high cohesion to maintain the unity of the discourse. The results of the study indicate that the short story has four aspects of grammatical cohesion, such as reference, substitution, ellipsis, and conjunction. Grammatical cohesion is dominated using reference, while ellipsis is the type that is least found. In addition, five types of lexical cohesion were found, such as repetition, synonymy, antonymy, meronymy, and collocation. There is no lexical cohesion of hyponymy was found in this story. This analysis not only shows how cohesive devices unite the story elements but also highlights the relevance of fables as an effective language learning medium. Abstrak Penelitian ini menganalisis kohesi gramatikal dan leksikal dalam cerita pendek berbahasa Inggris berjudul "The Ant and the Dove," menggunakan teori dari Halliday dan Hasan (1976). Penelitian ini berjenis kualitatif dengan metode analisis isi. Cerita pendek dipilih sebagai data karena bentuknya yang ringkas namun kompleks dan memerlukan kohesi yang tinggi untuk menjaga kesatuan wacana. Hasil penelitian menunjukkan bahwa cerita pendek tersebut memiliki empat aspek kohesi gramatikal, yaitu referensi, substitusi, elipsis, dan konjungsi. Kohesi gramatikal didominasi oleh penggunaan referensi, sementara elipsis adalah jenis yang paling sedikit ditemukan. Selain itu, ditemukan lima jenis kohesi leksikal, yaitu repetisi, sinonimi, antonimi, meronimi, dan kolokasi. Tidak ditemukan jenis kohesi leksikal hiponimi dalam cerita ini. Analisis ini tidak hanya menunjukkan bagaimana perangkat kohesi menyatukan elemen-elemen cerita, tetapi juga menyoroti relevansi fabel sebagai media pembelajaran bahasa yang efektif.
Copyright (c) 2025 Ni Made Dian Paramitha Sari https://creativecommons.org/licenses/by-sa/4.0
Tindak Tutur Direktif pada Film Ghost Writer (2019) Karya Bene Dion Rajagukguk
In a film, dialogues between characters often contain directive speech acts that aim to influence the interlocutor. The film Ghost Writer (2019) contains various forms of directive speech acts. This study aims to describe and analyze the forms and functions of directive speech acts in the film Ghost Writer (2019). This study was conducted using a descriptive qualitative research method. Data collection was carried out using method seen above with the involved tan-free conversation technique and the note-taking technique. In this study, techniques pilah match with decisive element (PUP) was chosen to analyze the data. The results of the study indicate that there are nine forms of directive speech acts in the film Ghost Writer (2019), namely ordering, warning, urging, prohibiting, requesting, inviting, suggesting, asking, and advising. This study proves that the use of directive speech acts displays communication between characters related to the context that underlies it. Abstrak Dalam suatu film, dialog antar tokoh sering mengandung tindak tutur direktif yang bertujuan untuk mempengaruhi lawan tutur. Film Ghost Writer (2019) memiliki berbagai bentuk tindak tutur direktif di dalamnya. Penelitian ini bertujuan untuk mendeskripsikan, serta menganalisis bentuk dan fungsi tindak tutur direktif dalam film Ghost Writer (2019). Penelitian ini dilakukan dengan menggunakan metode penelitian kualitatif deskriptif. Pada pengumpulan data menggunakan metode simak dengan teknik simak bebas libat cakap dan teknik catat. Dalam penelitian ini, teknik Pilah Unsur Penentu (PUP) dipilih untuk menganalisis data. Hasil penelitian menyatakan bahwa terdapat sembilan bentuk tindak tutur direktif dalam film Ghost Writer (2019), yaitu menyuruh, memperingatkan, mendesak, melarang, meminta, mengajak, menyarankan, bertanya, dan menasihati. Penelitian ini membuktikan bahwa penggunaan tindak tutur direktif menampilkan komunikasi antar tokoh berkaitan dengan konteks yang melatarbelakanginya.
Copyright (c) 2025 Marcella Wahyu Kristiyani, Arum Yuliana, Dyah Nur Fadillah, Siti Latifah, Winda Aprilia Maharani, Miftah Nugroho https://creativecommons.org/licenses/by-sa/4.0
The Analysis of Illocutionary Speech Act in the Album Song Lyrics Being Funny in a Foreign Language
This study aims to analyze the types of illocutionary speech acts, determining the most dominant type, and realization lyrics in the album Being Funny in a Foreign Language by The 1975. This study uses a qualitative method with Searle’s (1979) theory of speech acts as the main framework. The results showed that four main types of illocutionary acts were found, namely expressive, assertive, commissive, and directive. Expressive acts are the most dominant with around 40,14%, as the lyrics often express sadness, happiness, longing, regret, complaining, anger, and blaming. Then followed by assertive around 38,03%, directive around 13,38%, commissive around 8,45%, and no declaration speech acts are identified in this data analysis. The illocutionary acts are expressed implicitly, using poetic and symbolic language styles. These findings highlight how song lyrics function not only as artistic expression but also as meaningful communication tools within the field of pragmatics. Abstrak Penelitian ini bertujuan untuk menganalisis jenis tindak tutur ilokusi, menentukan jenis yang paling dominan, dan realisasi lirik dalam album Being Funny in a Foreign Language oleh The 1975. Studi ini menggunakan metode kualitatif dengan teori tindak tutur Searle (1979) sebagai kerangka utama. Hasil penelitian menunjukkan bahwa ditemukan empat jenis utama tindak ilokusi, yaitu ekspresif, asertif, komisif, dan direktif. Tindakan ekspresif adalah yang paling dominan dengan sekitar 40,14%, karena liriknya sering mengungkapkan kesedihan, kebahagiaan, kerinduan, penyesalan, keluhan, kemarahan, dan menyalahkan. Kemudian diikuti oleh asertif sekitar 38,03%, direktif sekitar 13,38%, komisif sekitar 8,45%, dan tidak ada tindak tutur deklaratif yang teridentifikasi dalam analisis data ini. Tindakan ilokusioner diungkapkan secara implisit, menggunakan gaya bahasa puitis dan simbolis. Temuan ini menyoroti bagaimana lirik lagu berfungsi tidak hanya sebagai ekspresi artistik tetapi juga sebagai alat komunikasi yang bermakna dalam bidang pragmatik.
Copyright (c) 2025 Reni Rahmawati, Nurhasanah Halim https://creativecommons.org/licenses/by-sa/4.0
Makna Asosiatif dalam Lagu Lihat Kebunku (Taman Bunga) Karya Aku Jeje: Kajian Semantik
This study aims to describe the types and functions of associative meanings in the lyrics of the song "lihat Kebunku (Flower Garden)" by Aku Jeje based on Leech's classification, and to explain how natural symbols are used to represent human emotions in the lyrics. The background of the study stems from the need for semantic analysis of song lyrics that are reinterpreted with new emotional nuances, but have not been widely studied academically. The method used is descriptive qualitative with data sources in the form of song lyrics that are analyzed through repeated reading techniques, recording elements of meaning, grouping categories, and interpreting connotative, affective, stylistic, social, and combined meanings. The results of the study show that there are 22 data containing associative meanings, consisting of 9 connotative meanings, 9 affective meanings, 1 stylistic meaning, 1 combined stylistic-connotative meaning, 1 combined connotative-affective meaning and 1 social meaning. These meanings are built through natural metaphors such as garden, flower, jasmine, gray, lay, bloom, and garden of the heart that represent love, loss, emotional vulnerability, and sincerity. Abstrak Penelitian ini bertujuan mendeskripsikan jenis dan fungsi makna asosiatif dalam lirik lagu Lihat Kebunku (Taman Bunga) versi Aku Jeje berdasarkan klasifikasi Leech, serta menjelaskan bagaimana simbol-simbol alam digunakan untuk merepresentasikan emosi manusia dalam lirik tersebut. Latar belakang penelitian berangkat dari kebutuhan analisis semantik terhadap lirik lagu yang direinterpretasi dengan nuansa emosional baru, namun belum banyak menjadi objek kajian akademik. Metode yang digunakan adalah deskriptif kualitatif dengan sumber data berupa lirik lagu yang dianalisis melalui teknik membaca berulang, pencatatan unsur makna, pengelompokan kategori, serta penafsiran makna konotatif, afektif, stilistika, sosial, dan gabungan makna. Hasil penelitian menunjukkan bahwa terdapat 22 data yang mengandung makna asosiatif, terdiri atas 9 makna konotatif, 9 makna afektif, 1 makna stilistika, 1 makna gabungan stilistika-konotatif, 1 makna gabungan konotatif-afektif serta 1 makna sosial. Makna-makna tersebut dibangun melalui metafora alam seperti kebun, bunga, melati, kelabu, layu, mekar, dan taman hati yang merepresentasikan cinta, kehilangan, kerentanan emosional, hingga keikhlasan.
Copyright (c) 2025 Arinda Gracella, Asterina Akbariani Suseno, Firli Azkiya Rahmania, Dase Erwin Juansah, Dodi Firmansyah https://creativecommons.org/licenses/by-sa/4.0
Morpheme of Heartbreak in Taylor Swift’s The Tortured Poest Department Album
This study aims to analyze morphemic changes through the process of derivation in the lyrics of songs on Taylor Swift's The Tortured Poets Department, as well as explain the emotional and artistic functions that arise from these changes. The focus of the research includes three songs, namely But Daddy I Love Him, Fortnight, and Guilty as Sin?. The method used is qualitative descriptive with a morphological approach to identify forms of derivation, as well as an analysis of emotional and aesthetic meaning based on the stylistic theory of Leech (1981) and the conceptual metaphor of Lakoff and Johnson (1980). The results show that the use of prefixes (un-, dis-, a-) and suffixes (-y, -ful, -ous, -ing, -al, -ly, -ity, -er, -ic, -less, -ify, -ry) Not only does it change the class of words, but it also enriches the emotional meaning and artistic imagery in the lyrics. Derivation is used as a poetic strategy to describe inner conflicts, emotional vulnerability, and the dynamics of personal relationships in musical works. Thus, derivation serves not only grammatically but also as a means of creative expression that connects the structure of language with emotional experience in popular music. Abstrak Penelitian ini bertujuan untuk menganalisis perubahan morfem melalui proses derivasi dalam lirik lagu pada album The Tortured Poets Department karya Taylor Swift, serta menjelaskan fungsi emosional dan artistik yang muncul dari perubahan tersebut. Fokus penelitian meliputi tiga lagu, yaitu But Daddy I Love Him, Fortnight, dan Guilty as Sin?. Metode yang digunakan adalah deskriptif kualitatif dengan pendekatan morfologi untuk mengidentifikasi bentuk-bentuk derivasi, serta analisis makna emosional dan estetik berdasarkan teori stilistika Leech (1981) dan metafora konseptual Lakoff dan Johnson (1980). Hasil penelitian menunjukkan bahwa penggunaan prefiks (un-, dis-, a-) dan sufiks (-y, -ful, -ous, -ing, -al, -ly, -ity, -er, -ic, -less, -ify, -ry) tidak hanya mengubah kelas kata, tetapi juga memperkaya makna emosional dan citraan artistik dalam lirik. Derivasi digunakan sebagai strategi puitis untuk menggambarkan konflik batin, kerentanan emosional, serta dinamika hubungan personal dalam karya musik. Dengan demikian, derivasi berfungsi tidak hanya secara gramatikal, tetapi juga sebagai sarana ekspresi kreatif yang menghubungkan struktur bahasa dengan pengalaman emosional dalam musik populer.
Copyright (c) 2025 Fika Ulfiyanti, Eryon Eryon, Samanik Samanik https://creativecommons.org/licenses/by-sa/4.0
Analisis Gramatikal Ambiguitas dalam Program Legislasi Nasional Tahun 2026
This study aims to analyze grammatical ambiguities found in the 2026 Draft State Budget Law (Rancangan Undang-Undang Anggaran Pendapatan dan Belanja Negara, RUU APBN), which is part of the 2026 National Legislation Programme (Prolegnas). The clarity of legal language plays a crucial role in public policy formulation, as syntactic inaccuracies may lead to semantic confusion and open the possibility for multiple interpretations of policy intent. Using a descriptive qualitative approach and grammatical analysis methods, this study examines sentences within the 2026 Draft State Budget Law that demonstrate potential ambiguity. The analysis focuses on decomposing syntactic structures and classifying types of ambiguity according to their grammatical characteristics. The results indicate that grammatical ambiguities in the 2026 Draft State Budget Law fall into two major categories: referential ambiguity and structural ambiguity. Referential ambiguity arises from unclear referents or indeterminate meanings of sentence elements, whereas structural ambiguity results from imprecise syntactic arrangements that allow for more than one possible interpretation. These ambiguities may lead to differing understandings of policy content and the intended legal norms of the legislators. Therefore, this study highlights the importance of accuracy and consistency in the drafting of governmental legal language, especially in fiscal policy documents, to ensure that policy meanings are communicated explicitly, avoid multiple interpretations, and support both legal certainty and effective policy implementation. Abstrak Penelitian ini bertujuan untuk menganalisis ambiguitas gramatikal yang terdapat dalam Rancangan Undang-Undang Anggaran Pendapatan dan Belanja Negara (RUU APBN) Tahun 2026 yang menjadi bagian dari Program Legislasi Nasional (Prolegnas) 2026. Kejelasan bahasa hukum memegang peranan penting dalam perumusan kebijakan publik, sebab ketidaktepatan struktur sintaksis dapat menimbulkan kerancuan makna dan membuka peluang penafsiran ganda terhadap maksud kebijakan. Penelitian ini menggunakan pendekatan kualitatif deskriptif dengan metode analisis gramatikal. Data yang dianalisis berupa kalimat-kalimat dalam naskah RUU APBN 2026 yang menunjukkan potensi ambiguitas. Analisis difokuskan pada penguraian unsur sintaksis serta pengelompokan jenis ambiguitas berdasarkan karakteristik gramatikalnya. Hasil penelitian menunjukkan bahwa ambiguitas gramatikal dalam naskah RUU APBN 2026 terbagi menjadi dua bentuk utama, yaitu ambiguitas referensial dan ambiguitas struktural. Ambiguitas referensial muncul akibat ketidakjelasan acuan atau penentuan makna unsur kalimat, sedangkan ambiguitas struktural timbul karena penyusunan unsur kalimat yang tidak tegas sehingga memungkinkan lebih dari satu interpretasi. Ambiguitas tersebut berpotensi menimbulkan perbedaan pemahaman terhadap isi kebijakan dan arah norma hukum yang dimaksudkan pembuat undang-undang. Dengan demikian, penelitian ini menegaskan pentingnya ketelitian dan konsistensi dalam penyusunan bahasa hukum pemerintah di masa yang akan datang, khususnya dalam dokumen kebijakan fiskal, agar makna kebijakan dapat disampaikan secara eksplisit, tidak menimbulkan multitafsir, serta mendukung kepastian hukum dan efektivitas implementasi kebijakan pemerintah.
Copyright (c) 2026 Aurelia Syaharani, Sayidatim Milatina, Sekar Oktafiani, Redika Cindra Reranta https://creativecommons.org/licenses/by-sa/4.0
Sarcasm Analysis Meme 'Adit, tolongin dit' Using Pragmatic Studies
his study analyzes the forms and functions of sarcasm in viral memes and audio parodies on social media using a pragmatic approach. The results show that sarcasm does not merely function as a form of ridicule but becomes a mechanism of humor that emerges through the discrepancy between literal utterances and actual intentions. Based on Attardo's classification, the dominant forms of sarcasm in the data include aggressive sarcasm, mock politeness, ironic encouragement, and hyperbolic sarcasm, which function to criticize characters' behavior, express annoyance, and create comic effects through exaggerated emotional responses. All the data indicate that humor is formed through violations of Grice's maxims, particularly the maxims of quality, quantity, relevance, and manner. These violations do not signify a failure of communication but rather a deliberate linguistic strategy used to create digital humor. Additionally, memes work through a pragmatic construction based on emotional contrast—for example, when a request for help is met with a sarcastic response that enhances the comedic effect while making it easier for the audience to recognize the sarcasm. Overall, this study confirms that understanding sarcasm in digital culture depends on the pragmatic context and shared knowledge among users. Abstrak Studi ini menganalisis bentuk dan fungsi sarkasme dalam meme viral dan parodi audio di media sosial menggunakan pendekatan pragmatik. Hasil penelitian menunjukkan bahwa sarkasme tidak hanya berfungsi sebagai bentuk ejekan, tetapi menjadi mekanisme humor yang muncul melalui ketidaksesuaian antara ucapan literal dan niat sebenarnya. Berdasarkan klasifikasi Attardo, bentuk sarkasme yang dominan dalam data meliputi sarkasme agresif, sopan santun palsu, dorongan ironis, dan sarkasme hiperbolik, yang berfungsi untuk mengkritik perilaku karakter, mengekspresikan ketidaknyamanan, dan menciptakan efek komik melalui respons emosional yang berlebihan. Semua data menunjukkan bahwa humor terbentuk melalui pelanggaran terhadap maksim-maksim Grice, khususnya maksim kualitas, kuantitas, relevansi, dan cara. Pelanggaran ini tidak menandakan kegagalan komunikasi, melainkan strategi linguistik yang disengaja untuk menciptakan humor digital. Selain itu, meme bekerja melalui konstruksi pragmatik berdasarkan kontras emosional—misalnya, ketika permintaan bantuan dibalas dengan respons sarkastis yang memperkuat efek komedi sambil memudahkan audiens mengenali sarkasme. Secara keseluruhan, studi ini menegaskan bahwa pemahaman sarkasme dalam budaya digital bergantung pada konteks pragmatik dan pengetahuan bersama di antara pengguna.
Copyright (c) 2025 Agustinah Agustinah, Eryon Eryon https://creativecommons.org/licenses/by-sa/4.0
Konstruksi Laki-Laki Ideal dalam Iklan Skincare Pemutih: Kajian Bahasa, Visual, dan Narasi di Media Sosial
The increasing phenomenon of men using skincare in the digital era indicates a shift in masculinity values, previously associated with physical toughness, toward aesthetics, self-care, and visual performativity. Whitening skincare advertisements on social media, particularly TikTok, play a significant role in constructing the ideal male: a man with bright, clean, athletic, and professional skin. This study aims to uncover how the language, visuals, and narratives of advertisements construct representations of modern masculinity through Fairclough's critical discourse analysis. The research method uses a qualitative approach, collecting data in the form of six whitening skincare advertisements for men, which are then analyzed across three dimensions: text, discursive practices, and socio-cultural practices. The results show that at the textual level, advertisements employ motivational and heroic lexicons, such as dare to win it, fresh & clean, and "total masculine manhood," to reposition skincare as a masculine and competitive activity. Visual representations emphasize bright, glowing skin, an athletic body, a clean face, and a minimalist aesthetic as symbols of modernity and self-control. At the level of social practice, advertisements are proven to reproduce the ideology of colorism and whiteness by positioning light skin as a standard of success, hygiene, and social status in modern masculinity. The research conclusion confirms that whitening skincare advertisements not only offer beauty products but also become an arena for identity production that normalizes new standards of masculinity on social media. Abstrak Penelitian ini menganalisis bagaimana iklan skincare pemutih di media sosial membentuk konstruksi laki-laki ideal melalui perpaduan bahasa, visual, dan narasi yang menormalisasi perawatan kulit sebagai bagian dari maskulinitas modern. Menggunakan pendekatan Analisis Wacana Kritis Norman Fairclough, penelitian ini mengkaji tiga dimensi wacana, yaitu teks, praktik diskursif, dan praktik sosial-budaya. Hasil penelitian menunjukkan bahwa pada level teks, iklan menggunakan leksikon motivasional (berani memenangkannya, fresh, brightens instantly) dan struktur tuturan heroik-kompetitif yang mereposisi skincare sebagai aktivitas maskulin, dinamis, dan terkait performativitas. Representasi visual memperkuat wacana ini melalui penampilan tubuh atletis, kulit cerah, close-up wajah glowing, serta estetika minimalis, sehingga menampilkan figur laki-laki modern yang bersih, kuat, dan profesional. Pada level praktik diskursif, industri skincare dan influencer marketing berperan sebagai produsen wacana yang menormalisasi penggunaan skincare melalui narasi autentisitas dan aspirasi diri. Sementara itu, laki-laki muda sebagai konsumen aktif menginternalisasi standar estetika baru tersebut melalui interpretative repertoires. Pada dimensi praktik sosial-budaya, iklan terbukti mereproduksi ideologi colorism dan whiteness dengan memposisikan kulit cerah sebagai simbol status, higienitas, dan kesuksesan. Temuan ini menegaskan bahwa iklan skincare pemutih merupakan arena penting dalam produksi identitas maskulin di era digital.
Copyright (c) 2025 Agustinus Djokowidodo, Putri Bintoro https://creativecommons.org/licenses/by-sa/4.0
Dampak Adaptasi Kesantunan pada Pola Interaksi Asertif-Direktif Diskusi Percakapan Kelompok Siswa di SMP Negeri 9 Penajam Paser Utara
Group discussions in class require tasks to be completed quickly, so that interactions between students are often dominated by speech that directs action and has the potential to create tension. This study aims to describe (1) the realization of directive and assertive speech acts in group discussions among students in class IX-A of SMP Negeri 9 Penajam Paser Utara, (2) the politeness strategies accompanying these utterances, and (3) their impact on interaction patterns. This study uses a descriptive qualitative approach. The data, in the form of group discussion transcripts (8 episodes) with a total of 42 utterances, were collected through observation and transcribed, then classified based on the type of speech act and analyzed using the speech act framework and Brown and Levinson's politeness theory (face and face-threatening act). The results show that directive speech acts tend to be dominant, especially the subcategory of requesting (9 utterances), followed by ordering (5), directing sequence (4), prohibiting (2), and silencing (2). Assertive speech acts appeared in the form of judging (5), accusing (4), denying (1), stating (1), explaining/giving examples (1), classifying (1), expressive reactions (1), and affirming references (1). Politeness strategies were evident through the use of question forms for clarification/confirmation, positive politeness (e.g., reinforcement/solidarity), and lexical mitigation; however, under certain conditions, direct utterances without mitigation appeared, which increased face threat. As a result, mitigated directive utterances reinforce cooperative-coordinative interaction patterns, while a combination of assertive attacks (e.g., accusations/labels) and coercive directives encourages conflict escalation with patterns of attack-defense-silencing. These findings emphasize the importance of teacher facilitation in discussion learning so that coordinative assertiveness remains in line with linguistic politeness. Abstrak Diskusi kelompok di kelas menuntut penyelesaian tugas secara cepat sehingga interaksi antarsiswa kerap didominasi tuturan yang bersifat mengarahkan tindakan sekaligus berpotensi memunculkan ketegangan. Penelitian ini bertujuan mendeskripsikan (1) realisasi tindak tutur direktif dan asertif dalam diskusi kelompok siswa kelas IX-A SMP Negeri 9 Penajam Paser Utara, (2) strategi kesantunan yang menyertai tuturan tersebut, serta (3) dampaknya terhadap pola interaksi. Penelitian menggunakan pendekatan kualitatif deskriptif. Data berupa transkrip diskusi kelompok (8 episode) dengan total 42 tuturan, dikumpulkan melalui teknik simak dan ditranskripsikan, kemudian diklasifikasikan berdasarkan jenis tindak tutur dan dianalisis menggunakan kerangka tindak tutur serta teori kesantunan Brown dan Levinson (face dan face-threatening act). Hasil menunjukkan bahwa tindak tutur direktif cenderung dominan, terutama subkategori meminta (9 tuturan), diikuti menyuruh (5), mengarahkan urutan (4), melarang (2), dan membungkam (2). Tindak tutur asertif muncul dalam bentuk menilai (5), menuduh (4), menyangkal (1), menyatakan (1), menjelaskan/mencontohkan (1), mengklasifikasikan (1), ekspresif reaksi (1), dan menegaskan rujukan (1). Strategi kesantunan tampak melalui penggunaan bentuk tanya untuk klarifikasi/konfirmasi, kesantunan positif (misalnya penguatan/solidaritas), dan mitigasi leksikal; namun pada kondisi tertentu muncul tuturan langsung tanpa mitigasi yang meningkatkan ancaman muka. Dampaknya, tuturan direktif yang termitigasi memperkuat pola interaksi kooperatif–koordinatif, sedangkan kombinasi asertif menyerang (mis. tuduhan/label) dan direktif koersif mendorong eskalasi konflik dengan pola penyerangan–pertahanan–pembungkaman. Temuan ini menegaskan pentingnya fasilitasi guru dalam pembelajaran diskusi agar ketegasan koordinatif tetap sejalan dengan kesantunan berbahasa.
Copyright (c) 2025 Desy Sitti Khadijah, Yunia Hardiani Listiyowardany, Widyatmike Gede Mulawarman, Bibit Suhatmady https://creativecommons.org/licenses/by-sa/4.0
Kolokasi dan Prosodi Semantik pada Kata Capek, Lelah dan Penat Berbasis Linguistik Korpus
Sinonyny is an important component of a language’s lexical system, as words with similar meanings cannot always be used interchangeably in real-life contexts. Language learners often understand differences between synonyms only in terms of their lexical meanings, without considering usage contexts and subtle semantic nuances, which can lead to difficulties in language comprehension. The development of corpus linguistics provides an empirical approach that enables the analysis of word usage based on authentic language data. This study examines the different meanings and usage patterns of the Indonesian words capek, lelah and penat by employing the LCC Indonesia 2023 corpus and a qualitative corpus-based approach. The findings indicate that capek tends to be used subjectively and informally, lelah is used in a neutral and descriptive manner, and penat is used in an emotional and reflective context. These results demonstrate that the synonymy among the three words is contextual in nature and has important implications for lexical semantic studies and vocabulary learning in Indonesian. Abstrak Sinonim merupakan komponen penting dalam sistem kosakata bahasa, karena pilihan kata yang serupa tidak selalu dapat menggantikan satu sama lain dalam kehidupan nyata. Seringkali, orang yang mempelajari bahasa hanya memahami perbedaan sinonim berdasarkan makna leksikalnya, tanpa mempertimbangkan konteks penggunaan dan nuansa makna. Ini menyebabkan masalah dalam memahami bahasa. Perkembangan linguistik korpus memberikan pendekatan empiris yang memungkinkan analisis penggunaan kata yang didasarkan pada data nyata. Kajian ini meneliti penggunaan makna yang berbeda dari kata capek, lelah dan penat dalam bahasa Indonesia dengan menggunakan LCC Indonesia 2023 dan pendekatan kualitatif berbasis korpus. Hasil analisis menunjukkan bahwa capek cenderung digunakan secara subjektif dan informal, lelah digunakan secara netral dan deskriptif, dan penat digunakan secara emosional dan reflektif. Hasil menunjukkan bahwa sinonimi ketiga kata tersebut bersifat kontekstual dan penting untuk studi semantik leksikal dan pembelajaran kosakata dalam bahasa Indonesia.
Copyright (c) 2025 Zahra Hapriani Hasbiallah https://creativecommons.org/licenses/by-sa/4.0
Representing Generations Through Slang: A Comparative Study of MTV and Tiktok in Indonesian Pop Culture
This article examines how slang shapes generational linguistic identity in Indonesia by comparing two media environments: MTV in the early 2000s and TikTok in the current digital era. Using sociolinguistic perspectives on media and youth identity, the study analyzes how each platform influences the creation, spread, and social meaning of slang. MTV, as a one-way broadcast medium, produced relatively stable slang tied to localized adaptations of global youth culture. In contrast, TikTok operates as a participatory, algorithm-driven space where slang changes quickly through abbreviation, blending, code-mixing, and sound alteration. These forms circulate virally and gain meaning through collective user practices. Despite differences in structure and pace, both eras show that slang functions as a marker of group belonging, humor, and generational distinction. The study demonstrates how shifting media infrastructures shape linguistic innovation and the ongoing negotiation of youth identity in Indonesian popular culture. Abstrak Artikel ini membahas bagaimana slang membentuk identitas linguistik generasi di Indonesia dengan membandingkan dua lingkungan media: MTV pada awal 2000-an dan TikTok pada era digital saat ini. Dengan menggunakan perspektif sosiolinguistik tentang media dan identitas anak muda, studi ini menganalisis bagaimana setiap platform memengaruhi penciptaan, penyebaran, dan makna sosial dari slang. MTV, sebagai media siaran satu arah, menghasilkan bentuk slang yang relatif stabil dan terkait dengan adaptasi lokal dari budaya anak muda global. Sebaliknya, TikTok berfungsi sebagai ruang partisipatif yang digerakkan algoritma, di mana slang berubah cepat melalui pemendekan, pencampuran, alih kode, dan perubahan bunyi. Bentuk-bentuk ini menyebar secara viral dan memperoleh makna lewat praktik pengguna. Meski berbeda dalam struktur dan kecepatan, kedua era menunjukkan bahwa slang berfungsi sebagai penanda kebersamaan kelompok, humor, dan pembeda antar generasi. Studi ini menunjukkan bagaimana perubahan infrastruktur media membentuk inovasi bahasa dan negosiasi identitas anak muda dalam budaya populer Indonesia.
Copyright (c) 2025 Refan Gusti Ramadhan, Syahkira Begum, Yanti Rosalinah https://creativecommons.org/licenses/by-sa/4.0
Pelanggaran Maksim Kuantitas Mahasiswa Bahasa dan Budaya Tiongkok Universitas Padjadjaran
The Chinese Language and Culture study program is one of the study programs at the Faculty of Cultural Sciences, Padjadjaran University. Students in this study program come from various regions in Indonesia, and they are studying a foreign language, namely Chinese. Therefore, this study aims to analyze violations of the cooperative principle in students majoring in Chinese Language and Culture at Padjadjaran University. This study uses a descriptive-qualitative method. The researcher applies one major theory in analyzing this study, namely the Cooperative Principle theory proposed by Grice (1975). The subjects of this study were first-year students majoring in Chinese Language and Culture at Padjadjaran University who acted as respondents and became data sources, while the objects of this study were the utterances produced by first-year students majoring in Chinese Language and Culture at Padjadjaran University. The method used in data collection was the Discourse Completion Tasks (DCT) method, and the data analysis method used pragmatic and referential equivalent methods according to Sudaryanto's view (2015). Based on the results of the analysis, it shows that the violations of the cooperative principle that were often found were violations of the cooperative principle of the maxim of quantity. Abstrak Program studi Bahasa dan Budaya Tiongkok merupakan salah satu program studi di Fakultas Ilmu Budaya Universitas Padjadjaran, mahasiswa pada program studi tersebut berasal dari berbagai daerah di Indonesia, mereka mengemban pendidikan untuk mempelajari bahasa asing, yaitu bahasa Tiongkok. Oleh karena itu, penelitian ini ini bertujuan untuk menganalisis pelanggaran prinsip kerja sama pada mahasiswa jurusan Bahasa dan Budaya Tiongkok Universitas Padjadjaran. Penelitian ini menggunakan metode deskriptif-kualitatif. Peneliti menerapkan satu teori besar dalam menganalisis penelitian ini, yaitu teori Prinsip Kerja Sama yang dikemukakan oleh Grice (1975). Subjek penelitian ini menggunakan mahasiswa tingkat 1 jurusan Bahasa dan Budaya Tiongkok Universitas Padjadjaran yang berperan sebagai responden dan menjadi sumber data, sedangkan objek penelitian ini adalah tuturan yang diproduksi oleh mahasiswa tingkat 1 jurusan Bahasa dan Budaya Tiongkok Universitas Padjadjaran. Metode yang digunakan dalam pengumpulan data adalah dengan metode Discourse Completion Tasks (DCT), serta metode analisis data dengan menggunakan metode padan pragmatis dan referensial menurut pandangan Sudaryanto (2015). Berdasarkan hasil analisis menunjukkan bahwa pelanggaran prinsip kerja sama yang sering ditemukan adalah pelanggaran prinsip kerja sama maksim kuantitas yang paling sering ditemukan.
Copyright (c) 2025 Khansa Azmilika Fathnindhia, Nani Sunarni, Hermina Sutami https://creativecommons.org/licenses/by-sa/4.0
NO Way! BIRGing and CORFing by Football Fans in Their Reaction Videos toward Last Minute Goals
Football fandom has evolved into a digital space where emotions and identity are openly displayed. This study aims to examine how football fans express and manage emotions through expression and impression when reacting to last-minute goals. The problem addressed is how fans’ emotional behaviors reflect Basking in Reflected Glory (BIRGing) and Cutting Off Reflected Failure (CORFing) within social identity theory. Using a descriptive qualitative method, data were collected from fan reaction videos on social media, analyzed through verbal and non-verbal cues. The findings reveal that victory triggers expressions of pride and unity (BIRGing), while defeat leads to disappointment and emotional distancing (CORFing). These emotional reactions not only reveal spontaneous feelings but also reflect deeper psychological connections between fans and their supported teams. They demonstrate how football fans perform their social identity and collective emotion in digital spaces, making emotional expression part of online cultural participation. Overall, the study argues that reaction videos are not merely sources of entertainment but serve as performative acts of identity negotiation and emotional expression, reflecting how digital culture shapes modern fandom and social belonging. Abstrak Budaya penggemar sepak bola kini berkembang dalam ruang digital, tempat emosi dan identitas ditampilkan secara terbuka. Penelitian ini bertujuan untuk mengkaji bagaimana penggemar sepak bola mengekspresikan dan mengelola emosi melalui expression dan impression saat menanggapi gol di menit-menit terakhir. Permasalahan yang diangkat adalah bagaimana perilaku emosional penggemar mencerminkan konsep Basking in Reflected Glory (BIRGing) dan Cutting Off Reflected Failure (CORFing) dalam kerangka teori identitas sosial. Dengan metode kualitatif deskriptif, data diperoleh dari video reaksi penggemar di media sosial dan dianalisis berdasarkan isyarat verbal dan nonverbal. Hasil penelitian menunjukkan bahwa kemenangan memunculkan ekspresi kebanggaan dan kebersamaan (BIRGing), sedangkan kekalahan menimbulkan kekecewaan dan jarak emosional (CORFing). Reaksi emosional ini tidak hanya menunjukkan perasaan spontan, tetapi juga mencerminkan keterikatan psikologis yang lebih dalam antara penggemar dan tim yang mereka dukung. Hal ini memperlihatkan bagaimana penggemar sepak bola menampilkan identitas sosial dan emosi kolektifnya di ruang digital, menjadikan ekspresi emosi sebagai bagian dari partisipasi budaya daring. Secara keseluruhan, penelitian ini berpendapat bahwa video reaksi bukan sekadar hiburan, tetapi merupakan tindakan performatif dalam negosiasi identitas dan ekspresi emosi yang mencerminkan bagaimana budaya digital membentuk fandom modern dan rasa kebersamaan sosial.
Copyright (c) 2025 Faiz Fathurrahman Tamim, Kevin Abimanyu, Zahra Nurbadriani, Zahrah Zakiyah Hasna https://creativecommons.org/licenses/by-sa/4.0
Kajian Semiotik Terhadap Ux Aplikasi Shopee Dengan Pendekatan Quality Assurance
The rapid growth of e-commerce requires digital platforms to deliver user experiences (UX) that are not only functional but also visually communicative. Shopee, as one of the most popular e-commerce platforms in Indonesia, utilizes interface design elements rich in signs and symbols. This study aims to examine the UX of the Shopee application through a semiotic approach and to evaluate its quality using a Quality Assurance (QA) perspective. The research focuses on how users interpret Shopee’s visual interface elements and the level of application usability. A qualitative method was employed through semiotic analysis based on Charles Sanders Peirce’s model, combined with a quantitative descriptive approach using the USE Questionnaire distributed to 100 respondents. The results show that Shopee achieved an overall usability score of 83.28%, categorized as very feasible, with usefulness (81.31%), ease of use (83.35%), ease of learning (89.75%), and satisfaction (82.20%), indicating that Shopee provides an effective, intuitive, and satisfying user experience. Abstrak Perkembangan e-commerce yang pesat menuntut platform digital untuk menghadirkan pengalaman pengguna (User Experience/UX) yang tidak hanya fungsional, tetapi juga komunikatif secara visual. Shopee sebagai salah satu platform e-commerce terpopuler di Indonesia memanfaatkan elemen desain antarmuka yang kaya akan tanda dan simbol. Penelitian ini bertujuan untuk mengkaji UX aplikasi Shopee melalui pendekatan semiotik serta mengukur tingkat kualitasnya menggunakan Quality Assurance (QA). Permasalahan penelitian difokuskan pada pemaknaan elemen visual antarmuka Shopee oleh pengguna serta tingkat usability aplikasi. Metode penelitian menggunakan pendekatan kualitatif melalui analisis semiotik model Charles Sanders Peirce dan pendekatan kuantitatif menggunakan USE Questionnaire terhadap 100 responden. Hasil penelitian menunjukkan tingkat usability Shopee sebesar 83,28% dengan kategori sangat layak, meliputi aspek usefulness (81,31%), ease of use (83,35%), ease of learning (89,75%), dan satisfaction (82,2%), yang menandakan UX Shopee efektif, mudah dipahami, dan memuaskan pengguna.
Copyright (c) 2026 Gusti Ngurah Aditya Krisnawan, Dw Ayu Agung Indra Swari, Dedy Panji Agustino https://creativecommons.org/licenses/by-sa/4.0
Inflectional Morphemes and Their Grammatical Functions in Owl City`s Album Ocean Eyes (2009)
This study investigates the grammatical functions and stylistic implications of inflectional morphemes in Owl City’s Ocean Eyes album (2009). Employing a qualitative descriptive design, the research analyzes how these morphological markers contribute to the lyrical structure based on the framework of Fromkin, Rodman, and Hyams (2018). Data were collected from official song lyrics, resulting in 151 identified words containing inflectional affixes. The findings reveal a significantly uneven distribution: noun plural markers are the most dominant category (63.8%), followed by verb inflections (32.5%) and adjective inflections (approximately 4%). The high frequency of plural nouns creates the vast, concrete imagery characteristic of the "dream pop" genre. Additionally, the predominance of third-person singular -s and present participle -ing establishes a narrative tone of immediacy and continuous action. The study concludes that inflectional morphemes in Ocean Eyes function not only to maintain grammatical accuracy but also to construct the album's distinct vivid and surreal aesthetic. Abstrak Penelitian ini mengkaji fungsi gramatikal dan implikasi stilistika dari morfem infleksional dalam lirik album Ocean Eyes (2009) karya Owl City. Dengan menggunakan desain penelitian deskriptif kualitatif, studi ini menganalisis bagaimana penanda morfologis tersebut berkontribusi pada struktur lirik berdasarkan kerangka teori Fromkin, Rodman, dan Hyams (2018). Data dikumpulkan dari lirik lagu resmi, menghasilkan 151 kata yang mengandung afiks infleksional. Temuan menunjukkan distribusi yang sangat tidak merata: penanda jamak nomina adalah kategori paling dominan (63,8%), diikuti oleh infleksi verba (32,5%) dan infleksi adjektiva (sekitar 4%). Tingginya frekuensi nomina jamak menciptakan citraan konkret dan luas yang menjadi ciri khas genre "dream pop". Selain itu, dominasi orang ketiga tunggal -s dan partisipel kini -ing membangun nada naratif yang terasa langsung dan berkelanjutan. Studi ini menyimpulkan bahwa morfem infleksional dalam Ocean Eyes berfungsi tidak hanya untuk menjaga akurasi tata bahasa, tetapi juga untuk membangun estetika visual dan surealis yang khas dalam album tersebut.
Copyright (c) 2025 Muhammad Raihan Hidayat, Yanti Rosalinah https://creativecommons.org/licenses/by-sa/4.0