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Prodi Bahasa dan Sastra Arab, UIN Sunan Gunung Djati Bandung, Jawa Barat, Indonesia
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Illocutionary Speech Acts of the Devil Character in the Dialogue of the Animated Film Adam and the Devil on YouTube One Way Production Marisa Hasna Kaamilah; Nurlinah; Maman Abdul Djalil
Jurnal Pembelajaran Bahasa dan Sastra Vol. 5 No. 3 (2026): Mei 2026
Publisher : Raja Zulkarnain Education Foundation

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55909/jpbs.v5i3.1529

Abstract

The research on illocutionary speech acts of the Devil character in the dialogue of the animated film Adam and the Devil on YouTube One Way Production contains various aspects of the meaning of speech acts from each dialogue, especially in the Devil character. This study aims to describe: 1) the types of illocutionary speech acts in the dialogue of the animated film Adam and the Devil; 2) the function of illocutionary speech acts in the dialogue of the animated film Adam and the Devil. This study uses John R. Searle's theory which classifies illocutionary speech acts into 5 types, namely; assertive, expressive, directive, commissive, and declarative illocutionary. The method used in this study is descriptive qualitative with the technique of listening and noting in data collection, and the pragmatic matching method in data analysis based on time triangulation. This study produced 309 data types of illocutionary speech acts with a description of 126 assertive illocutionary data, 58 expressive illocutionary data, 117 directive illocutionary data, 8 commissive illocutionary data. Meanwhile, in the devil's dialogue in the animated film Adam and Iblis, there is no declarative illocutionary act found. This study covers various functions of illocutionary speech acts in the dialogue of the animated film Adam and Iblis such as; guessing, estimating, explaining, accusing, forbidding, persuading, praying, fearing, promising and swearing. Assertive illocutionary speech acts are the dominant type of illocutionary speech acts used in the Devil's dialogue in the animated film Adam and Iblis.
Uslub Insya’ Thalabi Pada Film The Kingdom Of Solomon Karya Shahriar Bahrani M. Firmansyah; Nurlinah; Muhamad Nurhasan
Jurnal Pembelajaran Bahasa dan Sastra Vol. 5 No. 4 (2026): Juli 2026
Publisher : Raja Zulkarnain Education Foundation

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55909/jpbs.v5i4.1740

Abstract

Penelitian tentang uslub insya’ thalabi pada film The Kingdom of Solomon karya Shahriar Bahrani merupakan salah satu kajian balaghah, khususnya ilmu ma‘ani, yang mengkaji hubungan antara bentuk tuturan, makna, dan konteks penggunaannya. Penelitian ini bertujuan mendeskripsikan bentuk-bentuk uslub insya’ thalabi serta menganalisis makna (dalalah) dan konteks penggunaannya (maqam) dalam dialog berbahasa Arab pada film tersebut berdasarkan perspektif ilmu ma‘ani. Penelitian menggunakan metode deskriptif kualitatif dengan sumber data berupa dialog berbahasa Arab dalam film The Kingdom of Solomon berdurasi sekitar 2 jam 23 menit yang disutradarai oleh Shahriar Bahrani. Sampel penelitian berupa dialog yang mengandung uslub insya’ thalabi dipilih menggunakan teknik purposive sampling. Instrumen penelitian adalah peneliti sebagai human instrument yang didukung pedoman klasifikasi dan lembar pencatatan data. Analisis data dilakukan melalui reduksi data, penyajian data, klasifikasi berdasarkan teori balaghah, interpretasi makna menurut perspektif ilmu ma‘ani, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa ditemukan 50 data uslub insya’ thalabi, yang terdiri atas 28 uslub amr, 11 uslub nahy, 6 uslub nida’, dan 5 uslub istifham, sedangkan uslub tamanni tidak ditemukan. Keempat bentuk tersebut tidak hanya merepresentasikan makna gramatikal, tetapi juga mengandung makna retoris sesuai konteks tuturan, seperti doa, nasihat, ancaman, dan permohonan pada uslub amr, larangan, peringatan, irsyad, dan iltimas pada uslub nahy, penghormatan, pengagungan, dan permohonan pada uslub nida’, serta taqrir, inkar, taubikh, dan ta‘ajjub pada uslub istifham. Temuan ini menunjukkan bahwa uslub insya’ thalabi memiliki fungsi komunikatif dan retoris yang beragam sehingga memperkaya kajian balaghah, khususnya ilmu ma‘ani.
Representation of Masculinity in Fadel Chaker’s Songs: A Barthesian Semiotic Analysis M Irfan Maulana Hasan; Nurlinah; Asep Supianudin
Jurnal Pembelajaran Bahasa dan Sastra Vol. 5 No. 4 (2026): Juli 2026
Publisher : Raja Zulkarnain Education Foundation

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55909/jpbs.v5i4.1749

Abstract

This study encompasses several areas of inquiry, one of which is Roland Barthes’ semiotic analysis. Therefore, this study aims to analyze the denotative, connotative, and mythical meanings in representing subordinated masculinity and complicit masculinity in the song lyrics of Law Ala Qolbi and Ya Hayatirruh by Fadel Chaker based on Roland Barthes’ semiotic theory and Raewyn Connell’s perspective on masculinity. The study was conducted using the lyrics of the two songs as the research object, with data collection and analysis. The research data consisted of words, phrases, clauses, and expressions in the lyrics that represent masculinity, while the units of analysis were purposively selected according to the research focus. The researcher served as the primary research instrument, supported by a data classification sheet. Data were analyzed using a descriptive-interpretative method through Roland Barthes’ three levels of signification: denotation, connotation, and myth, with reference to Raewyn Connell’s masculinity theory. The findings reveal that the two songs represent two forms of masculinity, namely subordinated masculinity and complicit masculinity. At the denotative level, masculinity is represented through expressions of love, longing, loyalty, sacrifice, and commitment to one’s partner. At the connotative level, these representations portray men who are willing to express their emotions, build emotional intimacy, and demonstrate responsibility in relationships. At the mythical level, the songs construct the view that masculinity is not solely defined by dominance and emotional restraint, but also by sincerity, commitment, willingness to sacrifice, and the ability to express affection. The findings indicate that the representation of masculinity in the two songs constructs a more humanistic, expressive, and relational form of masculinity compared to hegemonic masculinity.
Co-Authors Asep Supianudin M Irfan Maulana Hasan M. Firmansyah Maman Abdul Djalil Marisa Hasna Kaamilah Muhamad Nurhasan