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Journal : Journal of Language and Literature

Cognitive Stylistic Analysis of Ariana Grande's Intro (End of the World) Sianturi, Naomi Elisabeth; Tarigan, Abigail Chrissantha; Ariqah, Nabilah; Rangkuti, Rahmadsyah
Humanitatis : Journal of Language and Literature Vol 11 No 1 (2024)
Publisher : LPPM Universitas Bumigora Mataram

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30812/humanitatis.v11i1.4061

Abstract

This study explores the application of cognitive stylistics in analyzing Ariana Grande’s song "Intro (End of theWorld)" through schema theory. Schema theory is employed to understand how listeners interpret the song’s lyrics by activating pre-existing mental frameworks. The background of this research includes examining rhetorical devices used by the artist, such as personification, similes, metaphors, and hyperbole, to convey complex emotions and ideas. The methodology consists of a detailed textual analysis of the lyrics, focusing on identifying and interpreting these devices concerning the song’s thematic elements. The findings indicate that the song addresses themes of relationship evaluation, self-discovery, and the intricacies of interpersonal connections. The metaphorical language, melodic and lyrical structure, and vocal delivery contribute to the song’s emotional depth and thematic complexity. The study concludes that the use of schema theory helps elucidate how these stylistic elements influence listeners’ understanding and emotional engagement with the song, enhancing their overall experience.
Cognitive Stylistic Analysis of Ariana Grande's Intro (End of the World) Sianturi, Naomi Elisabeth; Tarigan, Abigail Chrissantha; Ariqah, Nabilah; Rangkuti, Rahmadsyah
Humanitatis : Journal of Language and Literature Vol. 11 No. 1 (2024): Humanitatis: Journal of Language and Literature
Publisher : LPPM Universitas Bumigora Mataram

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30812/humanitatis.v11i1.4061

Abstract

This study explores the application of cognitive stylistics in analyzing Ariana Grande’s song "Intro (End of theWorld)" through schema theory. Schema theory is employed to understand how listeners interpret the song’s lyrics by activating pre-existing mental frameworks. The background of this research includes examining rhetorical devices used by the artist, such as personification, similes, metaphors, and hyperbole, to convey complex emotions and ideas. The methodology consists of a detailed textual analysis of the lyrics, focusing on identifying and interpreting these devices concerning the song’s thematic elements. The findings indicate that the song addresses themes of relationship evaluation, self-discovery, and the intricacies of interpersonal connections. The metaphorical language, melodic and lyrical structure, and vocal delivery contribute to the song’s emotional depth and thematic complexity. The study concludes that the use of schema theory helps elucidate how these stylistic elements influence listeners’ understanding and emotional engagement with the song, enhancing their overall experience.
Forensic Stylistic Analysis in A Pragmatic Approach to an Indian Teenage Girl's Suicide Note Amalia, Karina Dea; Putri, Amelia Amanda; Yasmin, Zarah Khodijah; Lubis, Hanny Shah Rahma Reswara; Rangkuti, Rahmadsyah
Humanitatis : Journal of Language and Literature Vol. 10 No. 2 (2024): Humanitatis: Journal of Language and Literature
Publisher : LPPM Universitas Bumigora Mataram

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30812/humanitatis.v10i2.4009

Abstract

The background of this research stems from the need for an in-depth understanding of suicide notes, where language is used as evidence in a legal context. Utilization of a forensic stylistics analysis technique is crucial in the assessment of written texts in criminal investigations, with the objective of revealing indications of deception, narrative coherence, and implicit connotations within the text. This research aims to uncover the hidden meanings contained in the language used in suicide note writing. This study employed a descriptive qualitative research methodology to examine suicide notes obtained from the IndiaToday news website using a Google search. The method of data collection entails obtaining, reading, comprehending, and analyzing the suicide notes as major sources of evidence. The results of this study indicated the importance of understanding suicide communication from a pragmatic point of view and that social and psychological elements should be considered in dealing with suffering. With this research, it can be proven that language as evidence can have a major influence on the investigation process; it can show the audience that the words are not just words but words that have the meaning implied in the word.
A Morphological Stylistic Analysis of Song “I Wish I Hated You” by Ariana Grande Artika, Mutiara Romi; Dalimunte, Vina Fitriani; Sofilla, Devi; Rangkuti, Rahmadsyah
Humanitatis : Journal of Language and Literature Vol. 10 No. 2 (2024): Humanitatis: Journal of Language and Literature
Publisher : LPPM Universitas Bumigora Mataram

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30812/humanitatis.v10i2.4015

Abstract

In societal interactions, language plays a fundamental role, serving crucial purposes. Language activities aim to express specific intentions and objectives. This study aims to examines Ariana Grande's song "I Wish I Hated You" using a stylistic approach, focusing on morphological analysis of free and bound morphemes, including lexical, functional, derivational, and inflectional morphemes, and their relation to the song's theme. The research method used is a qualitative descriptive method. The primary data source is the lyrics of the song. The data collection process involved listening to the song, reading the lyrics, and categorizing them based on morpheme types. The research results indicate 74 lexical morphemes, 102 functional morphemes, 3 derivations, and 16 inflections in the song. Dominant morphemes are primarily free morphemes, with functional morphemes being the most prevalent type. This highlights how the selection and arrangement of dominant morphemes shape the song's overall impact and message. The research contributes to appreciate Ariana Grande's song, uncover deeper meanings, and enhance understanding of morpheme types within the lyrics.
Conceptual Metaphor in Lonestar Song Lyrics “I’m Already There”: A Cognitive Stylistic Analysis Nasution, Atikah Auni; Matanari, Desna Uli; Fianda, Afiqah; Sasmita, Rheina; Rangkuti, Rahmadsyah
Humanitatis : Journal of Language and Literature Vol. 10 No. 2 (2024): Humanitatis: Journal of Language and Literature
Publisher : LPPM Universitas Bumigora Mataram

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30812/humanitatis.v10i2.4070

Abstract

Metaphor is one of the most effective strategies for making literary works more evocative, striking, and beautiful. Metaphor's significance goes beyond literature to cognitive stylistics, which studies the cognitive processes that underpin language use and interpretation. This study aims to explain the types of conceptual metaphors found in the Lonestar song lyrics "I'm Already There" using Lakoff and Johnson's conceptual theory. The research method used in this study is a descriptive-qualitative method. The research results show that there are 7 conceptual metaphors found in Lonestar's song lyrics "I'm Already There". The results revealed that it contains all forms of conceptual metaphors. Structural metaphors were the most common (43%). Followed by ontological metaphors were also popular (43%). While orientational was the least (14%). Thus, both structural and orientational metaphors dominated the lyrics of "I'm Already There" by Lonestar. This use of metaphorical language incorporates both abstract and physical components, setting the song's narrative apart from others. Overall, the use of structural and ontological metaphors in Lonestar's "I'm Already There" highlights their significant impact on the song's lyrical composition.
Co-Authors Achmad, Zakaria Afandi, Fahri Afian, Alvin Ahmad, Sophie Meilatifah Akhyar, Fadhilah Tsaqila Alfia, Fila Alivia, Cut Putri Alvin Alfian, Yofina Mulyati, Amalia, Karina Dea Ambarita, Mariyanti Anargya, Hafwen Andini, Riza Saskia Andira, Missy Ayu Aprianti, Thesia Apuilina, Theresia Widya Aria, Fahri Mulia Ariqah, Nabilah Artanti, Chairinnisa Artika, Mutiara Romi Asya, Shafira Azahra, Naiya Azizah, Aisyah Nurul Azman, Dinda Aqiila Azzahra, Sekar Bacas, Chintami Angelica Balqis, Shafiah Batubara, Vinjellina Beru Sembiring, Inggrid Gavrila Br Pane, Khairina Juliana Br Panjaitan, Eureka Jovita Br Perangin – Angin, Alemina Br. Perangin-angin, Alemina br. Sirait, Naomi Sephania Br. Sitorus, Rosalyn Magdalena Br.Sinulingga, Desi Rahma Yuni Caroline, Yohanna Pebrianti Chaterina Manalu, Lidya Arella Clarissa, Cindy Dachi, Paulus Dalimunte, Sukma Rahayu Dalimunte, Vina Fitriani Daulay, Olga Adelia Deliana Deliana, Deliana DHARMAYA, AZURA Dinda N. Hutabarat, Sharon Dinillah Arifah Eddy Setia Effendi, Fika Emylia Elchaira, Nadya Errando Varel Fadhlillah, Rafi Isham Fadillah, Teuku Muhammad Raihan Fanisa, Naza Fayusaurada, Annan Fernando Siahaan, Daniel Fianda, Afiqah Fiesta Sinaga, Tantiara Fila Alfia Fitriana, Fadila Fitriyani, Murni Nur Fransisca, Amanda Galaska, Candrika Ganie, Rohani Ginting, Sinta P Amelia Ginting, Valencia Laurence Hamzah, Syifa Hamzah, Syifa Fitri Handyanto, Wina Avrillia Harianja, Alvernod Hasan, Hani Firlyali Hasnain, S. Imtiaz Hia, Nadia Virdhani Hidayat, Chatrine Aulia Hutabarat, Sharon Dinda N. Hutagalung, Afifah Syahlina Br Hutapea, Davis Timothy Humala Hutapea, Vimelia Fratiwi Ilma, Dzikri Indah Permata Sari Irwan Istiqomah istiqomah istiqomah Jocelym, Evaness Kaonedy, Jesselyn Kerwin Kerwin, Kerwin Khairun Nisa Khansa, Syifa Nadiah Kurniasy, Dessy Kurniawan, Salsabila La Ajina Hasibuan, Faninsky Aryanti Lekson, Mutiara Alda Lenni Herawati Sirait Lhaksmi, Maha Loeis, Jhonson Lorise, Grace Lubis, Delfi Nazilah Lubis, Ezra Rumatha Lubis, Hanny Shah Rahma Reswara Lubis, Heri Setiawan Lubis, Masdiana Lubis, Rafi Muhammad Lubis, Reza Dian Irawan Ma, Cynthia Madi, Salwa Saleh Manalu, Lidya Arella Chaterina Manurung, Anna Shinta Vholyna Manurung, Rifdah Aatikah Margareth, Ruth Anggina Margaretta, Witness Eunike Maria, Jessicca Marsha, Sit Azzahra Marsha, Siti Azzahra Matanari, Desna Uli Maulida, Dini Eka Meisya, Shalsa Billa Mentari, Lanjar Melati Setio Moesa, Raga Michael Nevada Muchtar, Muhizar Muhammad Fikri Muhammad Lubis, Rafi Muhammad Yusuf Murtias, Latifa Nanda Muthi’ah, Nadhirah MUTIA, SHANAZ mutiara mutiara Nabila, Kanaya Nur Naifa Naila, Aisya Namira, Ade Nasution, Atikah Auni Nasution, Diantry Binarwati Habibie Nasution, Diantry Binarwaty Habibie Nasution, Khairina Nasution, Khairunnisa Fitri Nasution, Puja Indriana Nasution, Putri Aulia Nazreensyah, Fabian Putra Nilma Zola Novra Melisa P. Hutabarat Nurhayati Sitorus Nurlela Nurlela Nurlela Nurul Hasanah Oktira, Harisa Dwi Onggatta, Reggina Panggabean, Devi Sari Panggabean, Erin Yohana Parinduri, Afrahul Fadhillah Pasaribu, Sastha Theresia Pasaribu, Uswatun Rafi'a Perangin - angin, Alemina Perangin-angin, Angelia Maria Igesia Pradinda, Yulia Pratiwi, Anggita Pujiono Pujiono Purba, Raysa Putri, Amelia Amanda Putri, Arina Putri, Riska Ananda Rahma, Alya Vania Rahmah Fithriani Rahman, Farisa Rohani Ganie Rusdi Noor Rosa Rusdi Noor Rosa Rusida, Elizabeth S, Dwi Triana S, M. Farhaz Krisnawan Salim, Fahri Salsabila, Elfa Samangilailai, Rofnal Saputra, Diendra Wahyu Saragih, Silvia Efani Sasmita, Rheina Sastia, May Sembiring, Inggrid Gavrila Beru Sembiring, Teresia Anjelina Septiandri, Muhammad Rizky Septiandri, Rizky Shafridawati Siagian, Theofani Leonita Siahaan, Daniel Fernando Siahaan, Rachel Pratiwi Sianturi, Naomi Elisabeth Sibarani, Lydia permata Sari Siboro, Meliana Siburian, Jessica Br. Sigalingging, Anggi Yolanda Sihite, Adinda Dwi Putri Sihotang, Anggraeni Permata Sihotang, Tiarma Sijabat, Carissa Margaret Silaban, Jelly Silitonga, Mega Uli Arta Silpandi, Neviya Silvizi Hijra, Hannah Zakiyya Simamora, Debora Anriyani Simangunsong, Anisyah S. Simangunsong, Anisyah Srirezeki Simanjuntak, Ivan Fernando Simanjuntak, Jessica Ruth Margaretha Simanjuntak, Juni Santa Simanjuntak, Windy Octalin Simbolon, Febrian Valentino Simorangkir, Raslima Sinaga, Amelia Putrilanel Sinaga, Joyce Chardha Sinaga, Muhammad Hidayatullah Tuahta Sinaga, Tantiara Fiesta Sinambela , Berlian Hasian Keyla Sinambela, Berlian Hasian Keyla Sinar, T. Silvana Sirait, Anjeli Lorena Siregar, Akbar Pangeran Siregar, Florence Siregar, Lailan Haz Sitio, Ihsan Tanama Sitompul, Ines Margaretha Sitompul, M. Riyadhil Sitompul, Muhammad Riyadhil Sitompul, Riyadhil Sitorus, Rosalyn Magdalena Situmorang, Evelyn Situmorang, Nia Felicia Sofilla, Devi Sofyani, Rizki Amelia Suhery, Dedy Syahron Lubis Syauki, Sheryll Rania Faradillah Syifa, Ghaissanie T. Thyrhaya Zein Tambunan, Cindy Uli Basa Tambunan, Friska Tambunan, Friska Br Tambunan, Khairunnisa Tanjung, Putri Aziza Muvta Tannada, Susanty Tantira, Nikita Tarigan, Abigail Chrissantha Tarigan, Abigail Putri Chrissantha Tarigan, Agit Seprina Tarigan, Aina Zahra Tarigan, Bahagia Taufany, Wahyu Trifena, Atalya Turnip, Novi Kanaya Perdana Ulfa, Maryam Umar Mono Varel, Errando Wahyu Ningsih Wulandari, Vanny Yasmin, Zarah Khodijah Zahara, Ayuna Zahrani, Tasya Zahratul Idami Zulaika, Adristi Yajna Zulfan