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Herson Kadir
Prodi Pendidikan Bahasa dan Sastra Indonesia, Universitas Negeri Gorontalo, Gorontalo, Indonesia
Education Languange, Linguistic, Communication & Media Other

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The Past Trauma of Gunarto in the Drama Script Ayahku Pulang by Usmar Ismail Herson Kadir; Ita Ahyani; Renita Guamo; Lasmin Lamusu; Adinda Lindiska Lahay; Akbar Ntango
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.v5i4.1584

Abstract

This study aims to describe the past trauma of the character Gunarto in terms of symptoms and the trauma recovery process as depicted in the play Ayahku Pulang by Usmar Ismail. The character’s trauma is examined because this play illustrates how traumatic childhood experiences influence a person’s psychological state into adulthood. The method used is a descriptive-analytical approach based on Herman’s perspective on literary psychology. The data source is the play Ayahku Pulang by Usmar Ismail, accessed via the Scribd website. The research data consists of excerpts from dialogue, narration, and actions that depict the symptoms of trauma and the recovery process of the character Gunarto. Data collection was conducted through reading and note-taking. Data analysis was performed by reading and understanding the data, then classifying the data Based on trauma symptoms and the trauma recovery process, this study describes the data found, analyzes the data according to the research focus, interprets the data, and draws conclusions. The results show that the character Gunarto experienced past trauma through three symptoms: intrusion, constriction, and hyperarousal. In addition, the trauma recovery process consists of three stages: rebuilding a sense of safety, remembering and grieving, and rebuilding a connection with life. The recovery process is evident through the character’s independence, the revelation of past suffering, and the emergence of remorse at the end of the story. This study demonstrates that literary works can be analyzed through the psychological issues experienced by the characters.
The Existence of Female Characters in the Drama Script Bunga Rumah Makan by Utuy Tatang Sontani Herson Kadir; Trivia Wahyu Amanda Djailani; Dinda Nuriah Kinga; Nurfatmi J. Anwar; Sakina Anton; Zakia Sagita Daud; Reyis Buhay
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.v5i4.1585

Abstract

This study focuses on the existence of female characters as viewed through the lenses of “The Other,” Immanence, and Transcendence in the play Bunga Rumah Makan by Utuy Tatang Sontani, using Simone de Beauvoir’s framework of existential feminism. The method employed is analytical description. The data source is the play Bunga Rumah Makan by Utuy Tatang Sontani. The research data consists of dialogue excerpts that illustrate the existence of female characters in the play. Data collection was conducted through reading and note-taking. Data analysis was performed by: (1) Reading the data thoroughly to gain an initial understanding of the text; (2) Classifying the data into three analytical categories: manifestations of “The Other,” conditions of Immanence, and drives toward Transcendence. (3) Describing the classified data in detail and systematically; (4) Analyzing the data by referring to Simone de Beauvoir’s existential feminist theoretical framework; (5) Interpreting the analysis results to uncover the meanings embedded within the text; and (6) Drawing preliminary conclusions that are subsequently verified until a final, accountable conclusion is reached. The research findings indicate that the character Ani is constructed as The Other through patriarchal power relations; she experiences a condition of Immanence but gradually demonstrates a drive toward Transcendence. This study concludes that Sontani’s drama implicitly reflects the tension between women’s existential freedom and the pressures of the patriarchal social structure.
The Marginalized Communities Life in the Drama Script Mega-Mega by Arifin C. Noer: A Sociological Study of Swingewood Literature Herson Kadir; Alya Fitria Naki; Agnes Novianti; Vanni Asharit; Ummul Khairu; Lika Andarista
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.v5i4.1586

Abstract

This study aims to analyze the representation of the lives of marginalized groups depicted in the drama script Mega-Mega by Arifin C. Noer, by applying the theoretical framework of the sociology of literature developed by Alan Swingewood. Specifically, this study attempts to describe the portrait of the lives of marginalized groups while examining the socio-economic conditions reflected in the literary work. The study uses a qualitative descriptive approach supported by content analysis techniques, with data sources in the form of fragments of words, sentences, and dialogues in the script that are relevant to the theme of marginality. The research findings reveal that the Mega-Mega script represents the bitter reality of marginalized groups who are shackled by structural poverty, minimal access to welfare, and the erosion of their self-esteem in an unequal social structure. Within the framework of Swingewood’s sociology of literature, this work is positioned as an authentic record of social reality that also functions as a vehicle for criticism of systems that do not side with small communities. This research is expected to enrich the treasury of sociological studies of literature, especially in the realm of analyzing works that carry the themes of poverty and social marginalization.
The Hegemony of Power in the Drama of Mangir by Pramoedya Ananta Toer: An Antonio Gramsci Perspective Herson Kadir; Yunima Hasan; Putri Salsabilah Murad; Ismail Rajak; Juriyati Rajak; Siti Fatima Tuzahrah Bachri
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.v5i4.1587

Abstract

This study discusses the hegemony of power in the drama script Mangir by Pramoedya Ananta Toer using Antonio Gramsci’s perspective. The focus of the research is directed at two main aspects, namely the hegemony of power viewed from the ideological aspect and the hegemony of power viewed from the social class of society. This study uses a qualitative descriptive method with a sociology of literature approach. The research data are in the form of dialogues in the drama Mangir which show the practice of power domination, social agreement, class conflict, and Mataram’s political strategy towards Mangir. The results of the study show that the ideological hegemony in the drama Mangir is built through the legitimacy of the Mataram kingdom’s power, manipulation of love, symbols of nobility, and the instilling of political awareness in the Mangir community. In addition, the hegemony of social class is seen through the conflict between the Mataram noble group and the Mangir perdikan community who uphold social equality. This drama shows how power does not only work through violence, but also through cultural and ideological agreement as Antonio Gramsci’s concept of hegemony.
Social and Cultural Issues in the Novels Laut Bercerita and Namiya Zakkaten No Kiseki: A Sociological of Literature Herson Kadir; Aviva Dinanti Lambalano; Ismail Rajak; Sastia Minasi Asuke; Lika Andariska; Tasya Abd. Latif
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.v5i4.1596

Abstract

Laut Bercerita is one of the many acclaimed novels by Leila S. Chudori. It was published in 2017 by Kepustakaan Populer Gramedia in Jakarta, Indonesia, and spans 379 pages. The novel Namiya Zakkaten No Kiseki (The Miracles of the Namiya General Store) is a work by Keigo Higashino; it was published in 2017 by Kadokawa Shoten in Japan.This study aims to describe the social and cultural issues in the novel Laut Bercerita by Leila S. Chudori and Namiya Zakkaten No Kiseki by Keigo Higashino through Alan Swingewood’s sociology of literature approach. This research employed a descriptive qualitative method with a comparative literature approach. The data consisted of quotations, sentences, and dialogues that reflect social and cultural life in both novels. The results show that Laut Bercerita portrays political injustice, authoritarian repression, social trauma, and the culture of solidarity in Indonesian society during the New Order era. Meanwhile, Namiya Zakkaten No Kiseki portrays loneliness, social alienation, and the values of empathy in modern Japanese society. The similarity between the two novels lies in their depiction of humanity and social relationships in society. The differences are found in the social and cultural backgrounds that influence the conflicts in the stories. Through Alan Swingewood’s sociology of literature approach, both novels can be understood as reflections of the social and cultural life of their respective societies and eras.
Social Criticism in the Drama Script Orang-Orang di Tikungan Jalan by WS Rendra: A Sociology of Literature Study Herson Kadir; Anwar Lahay; Alya Aprilia Pulukadang; Juniarti Nurul Ilmi; Vidyawati Utina; Azalia Albakia; Ernawati
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.v5i4.1598

Abstract

This research focuses on social criticism from the perspective of poverty, social injustice, exploitation of women, and social alienation in the drama script Orang-Orang di Tikungan Jalan by WS. Rendra through the perspective of Alan Swingewood’s sociology of literature. This drama script is considered to contain the reality of community life depicted through characters such as Sri, Djoko, Botak, Surati, and Surya who represent the lower social group. These communities face economic pressure, social injustice, and marginalization. This study uses a descriptive analysis method. The data collection technique is carried out through the read-note technique, namely reading the manuscript carefully and repeatedly, then recording the relevant parts to the focus of the research. Data analysis techniques refer to the content analysis model in the sociology of literature approach. The stages of analysis are: (1) reading the entire script to understand the plot, characters, and conflicts; (2) identifying parts of the text that contain elements of social criticism; (3) classifying data based on three Swingewood perspectives; (4) describing and interpreting the social meaning of the data; and (5) concluding the research findings. The results show that there are problems of poverty, social injustice, exploitation of women, and social alienation that are part of social criticism. This drama script not only functions as an aesthetic work, but also as a medium of social awareness of the condition of Indonesian society at that time.
Icons, Indices, and Symbols of the Film Perayaan Mati Rasa by Umay Shahab: A Charles Sanders Peirce Semiotic Study Sarifudin Ayuba; Herson Kadir; Ayu Hidayanti Ali
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.v5i4.1623

Abstract

This study aims to describe the meaning of icons, indices, and symbols in Umay Shahab’s film “Perayaan Mati Rasa” through Charles Sanders Peirce’s semiotics. The study was conducted by analyzing the film, which premiered in theaters on January 29, 2025, and on Netflix on June 12, 2025. The primary data source for this study was the film itself, while secondary data were obtained from semiotic theory books, scientific journals, and other relevant literature. The research instruments used included observation through repeated viewings of the film, documentation through screenshots of scenes, and literature review. Data analysis was conducted using Charles Sanders Peirce’s semiotic approach with a qualitative descriptive method. The results show that: first, eight icon data were found in the form of visual representations of the main characters: Ian Antono, Uta Antono, Satya Antono, Dini Antono, Ray Alvero, Saka Wijaya, Dika Ardana, and Dinda Juwita, which depict character, relationships between characters, and emotional conflicts based on direct similarities between the signs and the objects they represent; Second, eleven index data were found which were displayed through facial expressions, body gestures, lighting, and character actions as signs that have a causal relationship with psychological conditions such as loneliness, mental stress, family conflict, and loss; Third, five symbol data were found in the form of a handycam and family photos, a father’s heirloom, a flower arrangement, a Yasin book, and a ship and the sea, whose meanings were formed through social and cultural conventions to represent longing, loss, affection, sacrifice, and hope in Antono’s family.
Actantial Schemes in the Novel Sampar by Albert Camus: A Collective and Dynamic Representation of Actantial Relations Julianti Anamira Pobela; Sitti Rachmi Masie; Herson Kadir
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

Abstract

This research aims to describe the actantial schema in Albert Camus’s novel “Sampar” based on A.J. Greimas’s narratological study, focusing on the relations between actants and narrative roles that construct the story’s structure. The approach used is descriptive qualitative, with data consisting of quotes, sentences, and paragraphs from the novel Sampar, translated by N.H. Dini. Data collection techniques included reading, note-taking, and data classification, while data analysis used the interactive model of Miles and Huberman. The research results show that the actantial schema in the novel “Sampar” is collective and dynamic. The function of the subject is not centered on a single character, but is instead carried out alternately by Dr. Bernard Rieux, Jean Tarrou, Rambert, the group of volunteers, and the people of the city of Oran in accordance with the development of Sampar conflict. The object actant gradually evolves from the effort to understand the disease to the struggle to maintain human solidarity. The sender act is evident in situational pressures such as the appearance of dead rats and the increasing number of victims of the epidemic, while the receiver act is dominated by the community experiencing the epidemic’s social and psychological impacts. The helper actant is manifested through knowledge, social solidarity, and collective work, while the opposing actant is not only the epidemic but also social denial and bureaucratic response delays. The most significant finding of this research is that the boundaries between actants are fluid and dynamic, allowing a character to perform more than one actant function within the narrative. This research demonstrates that A.J. Greimas’s narratology is relevant to analyzing novels with collective conflicts and complex narrative structures.
Implementation of Quick Response Code Media in Teaching Poetry Writing to Grade VIII Students at SMP Negeri 1 Tilango Raina I. Tuna; Supriyadi; Herson Kadir; Muslimin; Eka Sartika
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.v5i4.1636

Abstract

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A Semiotic Analysis of Gus Mus’s Poems Kaum Beragama Negeri Ini and Selama Ini di Negerimu: A Roland Barthes Perspective Fitri Diva Saskia MR. Binol; Herson Kadir; Zilfa Achmad Bagtayan
Jurnal Pembelajaran Bahasa dan Sastra Vol. 5 No. 5 (2026): September 2026 | inprogress
Publisher : Raja Zulkarnain Education Foundation

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55909/jpbs.v5i5.1642

Abstract

This study aims to describe the denotative, connotative, and mythic meanings in the poems Kaum Beragama Negeri Ini and Selama Ini di Negerimu by Ahmad Mustofa Bisri, utilizing Roland Barthes' semiotic framework. The research data consist of words, phrases, and sentences from both poems that embody denotative, connotative, and mythic meanings. A qualitative descriptive method was employed, with data collection involving the reading, comprehension, and recording of poem segments containing semiotic signs. Data analysis was conducted by identifying signs, classifying the data, and subsequently analyzing meanings based on Roland Barthes' semiotic theory. The results indicate that both poems by Gus Mus contain denotative, connotative, and mythic meanings related to social criticism and humanity. The denotative meaning reflects the literal sense of the words used, while the connotative meaning reveals criticisms regarding religious fanaticism, poverty, social injustice, and the erosion of human values within society. Furthermore, the mythic meaning in both poems highlights social perspectives accepted as natural by the public—such as the notion that religious symbols outweigh human values, or the view of poverty as a commonplace aspect of social life. Through the use of simple symbols, Gus Mus successfully conveys profound moral messages and social critiques regarding the reality of life in Indonesian society.
Co-Authors Abdul Rasyid Adinda Lindiska Lahay Agnes Novianti Akbar Ntango Alya Aprilia Pulukadang Alya Fitria Naki Anwar Lahay Arsih Septianingsih Lapadang Asdia Tonuo Asna Ntelu Aviva Dinanti Lambalano Ayu Hidayanti Ali Ayu Ismail Azalia Albakia Bayu Adi Wiyono Dakia N. Djou Daud Yefkanius Nassa Dinda Nuriah Kinga Eka Sartika Ernawati Fatmawati Mobiliu Fikrin Ilolu Firanti R. Unusa Fitri Diva Saskia MR. Binol Fitri Hudengo Frediyanto Monoarfa Hasni Asis Ibrahim Dj. Kama Ismail Rajak Ismail Rajak Israhayu Djafar Ita Ahyani Julianti Anamira Pobela Juniarti Nurul Ilmi Juriyati Rajak Juriyati Rajak Karmila Husain Laila Mokodompit Lasmin Lamusu Lika Andariska Lika Andarista Marlona Miranda I. Zain Moh Fhainal Lamaliu Muslimin Muslimin Nadia Tri Jayantika Yunus Nur Anisa Maku Nur Awalia Karim Nur Stevi Amir Nurafni Amuda Nurfatmi J. Anwar Putri Salsabila Murad Putri Salsabilah Murad Rahma Yuni Djafar Rahman D. Daad Rahmat Abdullah Rahmatia Arjoyo Rahmatia Suleman Rahmiyati Subula Raina I. Tuna Regina Sri Natalia Ningsi Babay Renita Guamo Reyis Buhay Saipul H. M. Lasupu Sakina Anton Sarifudin Ayuba Sartika Djelema Sastia Minasi Asuke Sayama Malabar Siti Fatima Tuzahrah Bachri Sitti Fatimah Tuzahra Sitti Rachmi Masie Sri Abelia Noho Sri Rahayu Ibrahim Supriyadi Sutiantira Rezky Kobandaha Tasya Abd. Latif Trivia Wahyu Amanda Djailani Trywidarti S Magu Ummul Khair Ummul Khairu Vanni Ashari Vanni Asharit Vidyawati Utina Winangsih Sumba Yunima Hasan Yunima Hasan Zilfa Achmad Bagtayan