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Teacher’s Oral Feedback in Speaking Activity at the Tenth Grade of Senior High School Nurul Azmi; Ariatna Ariatna
Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris Vol. 4 No. 4 (2026): Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris
Publisher : Asosiasi Periset Bahasa Sastra Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61132/sintaksis.v4i4.2800

Abstract

This study aimed to identify the types of teacher oral feedback strategies used during speaking activities and to describe their implementation at the tenth grade of MAN Pematangsiantar. This study employed a descriptive qualitative research design. The data were collected through classroom observation, supported by video recording, audio recording, and field notes, involving one English teacher and thirty-six students of grade tenth. The data were analyzed using the oral corrective feedback framework proposed by Ellis (2009) and the learner error categories proposed by Lyster and Ranta (1997), as adapted by Faris (2018). The qualitative data were analyzed through the procedures proposed by Miles, et al. (2014). The findings revealed that the teacher used four out of six oral feedback strategies, namely recast, clarification request, explicit correction, and elicitation. Recast was the most frequently used strategy (45.4%), followed by clarification request (27.2%), explicit correction (18.1%), and elicitation (9.09%). Repetition and paralinguistic signal were not observed during the classroom interactions. Furthermore, the implementation of oral feedback was triggered by four types of learner errors, namely grammar errors, vocabulary errors, pronunciation errors, and L1 use. Grammar and pronunciation errors were the most frequently occurring errors.
Implicit Meanings of Social Issues in The Animated Series Freej: An Umberto Eco Semiotic Analysis: Al-Ma'ani al-Dimniyyah li al-Qadaya al-Ijtima'iyyah fi al-Musalsal al-Kartuni Freej: Dirasah Simiyaiyyah 'inda Umberto Eco Nisaul Kamila; Zulkhairi Sofyan; Nurul Azmi
An-Nahdah Al-'Arabiyah Vol. 6 No. 2 (2026)
Publisher : An-Nahdah Al-'Arabiyah is published by Department of Arabic Language and Literature in cooperation with The Center for Research and Community Service (LP2M)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22373/nahdah.v6i2.9639

Abstract

This study investigates the implicit meanings of social issues in the animated series Freej through the semiotic framework of Umberto Eco. Previous studies on Freej have primarily focused on cultural representation, identity construction, and the preservation of Emirati traditions, while limited attention has been given to the processes through which social meanings are implicitly produced and interpreted. Addressing this gap, the present study examines how social criticism is constructed through Eco’s typology of sign production. Employing a qualitative semiotic approach, the study analyzes five purposively selected episodes from Season 1 of Freej, chosen for their representation of tensions between tradition and modernity in contemporary Emirati society. The findings reveal that issues of modernization, cultural marginalization, and identity negotiation are communicated through visual composition, spatial organization, performative contrast, and linguistic interaction. These meanings emerge through the semiotic processes of recognition, ostension, replica, and invention, which enable viewers to actively interpret the social messages embedded in the narrative. The study demonstrates that Freej functions as an open text that conveys social criticism implicitly rather than through direct verbal expression. Theoretically, this research extends the application of Eco’s typology of sign production to animated media and contributes to the understanding of how implicit social meanings are generated through audience-text cooperation. Practically, the findings highlight the potential of animation as a medium for social reflection, cultural awareness, and social critique in contemporary society. تهدف هذه الدراسة إلى الكشف عن المعاني الضمنية للقضايا الاجتماعية في المسلسل الكرتوني فريج (Freej) من خلال الإطار السيميائي لأومبرتو إيكو. وقد ركزت الدراسات السابقة حول فريج بصورة أساسية على التمثيلات الثقافية، وبناء الهوية، والمحافظة على التراث الإماراتي، في حين لم تحظَ عمليات إنتاج الدلالات الاجتماعية الضمنية وتأويلها باهتمام كافٍ. وانطلاقًا من هذه الفجوة البحثية، تسعى الدراسة الحالية إلى تحليل كيفية بناء النقد الاجتماعي من خلال أنماط إنتاج العلامة عند أومبرتو إيكو. وتعتمد الدراسة المنهج السيميائي الكيفي من خلال تحليل خمس حلقات مختارة قصدياً من الموسم الأول لمسلسل فريج، وذلك بناءً على تمثيلها لحالة التوتر بين التقاليد والحداثة في المجتمع الإماراتي المعاصر. وتكشف النتائج أن قضايا التحديث، والتهميش الثقافي، والتفاوض الهوياتي تُنقل عبر التكوين البصري، والتنظيم المكاني، والتقابل الأدائي، والتفاعل اللغوي. وتنبثق هذه المعاني من خلال العمليات السيميائية المتمثلة في التعرّف (Recognition)، والإشارة (Ostension)، والاستنساخ (Replica)، والابتكار (Invention)، مما يتيح للمشاهد المشاركة الفاعلة في تأويل الرسائل الاجتماعية المتضمنة في السرد. وتبين الدراسة أن فريج يعمل بوصفه نصًا مفتوحًا ينقل النقد الاجتماعي بصورة ضمنية بدلاً من التعبير اللفظي المباشر. وعلى المستوى النظري، توسع هذه الدراسة نطاق تطبيق أنماط إنتاج العلامة لدى أومبرتو إيكو في مجال الوسائط المتحركة، وتسهم في تعميق فهم كيفية إنتاج المعاني الاجتماعية الضمنية من خلال التفاعل التعاوني بين النص والمتلقي. أما على المستوى العملي، فتبرز نتائج الدراسة إمكانات الرسوم المتحركة بوصفها وسيلة للتأمل الاجتماعي، وتعزيز الوعي الثقافي، وإيصال النقد الاجتماعي في المجتمعات المعاصرة.   Penelitian ini mengkaji makna-makna implisit dari isu-isu sosial dalam serial animasi Freej melalui kerangka semiotika Umberto Eco. Penelitian-penelitian sebelumnya tentang Freej umumnya berfokus pada representasi budaya, konstruksi identitas, dan pelestarian tradisi Emirat, sementara perhatian terhadap proses pembentukan dan penafsiran makna sosial secara implisit masih terbatas. Untuk mengisi kesenjangan tersebut, penelitian ini menganalisis bagaimana kritik sosial dibangun melalui tipologi produksi tanda yang dikemukakan oleh Umberto Eco. Penelitian ini menggunakan pendekatan semiotika kualitatif dengan menganalisis lima episode terpilih dari musim pertama Freej yang dipilih secara purposif berdasarkan representasinya terhadap ketegangan antara tradisi dan modernitas dalam masyarakat Emirat kontemporer. Hasil penelitian menunjukkan bahwa isu-isu modernisasi, marginalisasi budaya, dan negosiasi identitas dikomunikasikan melalui komposisi visual, pengorganisasian ruang, kontras performatif, dan interaksi linguistik. Makna-makna tersebut muncul melalui proses semiotik berupa pengenalan (recognition), penunjukan (ostension), replika (replica), dan invensi (invention), yang memungkinkan penonton secara aktif menafsirkan pesan-pesan sosial yang terkandung dalam narasi. Penelitian ini menunjukkan bahwa Freej berfungsi sebagai teks terbuka yang menyampaikan kritik sosial secara implisit, bukan melalui ekspresi verbal yang langsung. Secara teoretis, penelitian ini memperluas penerapan tipologi produksi tanda Umberto Eco pada media animasi serta berkontribusi pada pemahaman mengenai bagaimana makna sosial implisit dihasilkan melalui kerja sama antara teks dan audiens. Secara praktis, temuan penelitian ini menegaskan potensi animasi sebagai media refleksi sosial, peningkatan kesadaran budaya, dan penyampaian kritik sosial dalam masyarakat kontemporer.  
Perubahan Pola Permukiman di Lahan Sawit : Studi Kasus di Muara Kedang, Kecamatan Bongan, Kabupaten Kutai Barat Vindy Aninditha Putri; Yulian Widya Saputra; Nurul Azmi; Sutriani Sutriani
Jurnal Sains dan Teknologi Vol. 5 No. 1 (2026): Juni : Jurnal Sains dan Teknologi
Publisher : Fakultas Teknik Universitas Cenderawasih

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58169/saintek.v5i1.1160

Abstract

Land conversion into oil palm plantations represents a form of land use change that not only alters the physical characteristics of an area but also affects community life, including settlement patterns. This study aims to analyze the factors that encourage communities to convert land into oil palm plantations and to examine its impacts on changes in settlement patterns in Muara Kedang Village, Bongan District, West Kutai Regency. This research employed a qualitative approach using a descriptive method to provide an in-depth understanding of changes in community settlement patterns. Informants were selected using purposive sampling and consisted of six participants, including two community leaders, two residents who experienced changes in settlement patterns, and two migrant residents. Data were collected through observation, semi-structured interviews, and documentation. Data were analyzed using the interactive model developed by Miles and Huberman, while data validity was ensured through source triangulation and technique triangulation. The findings indicate that land conversion is influenced by economic factors, employment opportunities, road infrastructure development, and the presence of plantation companies. The impacts include the transformation of settlement patterns into a more dispersed form, improved regional accessibility, the arrival of migrant residents, changes in social conditions, increased employment opportunities and income, as well as a growing demand for public facilities.
Co-Authors Aditiya Mario Zai Putra Ahmad Fadli Ahmad Muhtadi Aldo Fuadi Heriyana Amanda Berlia Bersky AMSIR AMSIR Anthony Anggrawan Anwar Apriliani, Apriliani Ariatna Armina Khoiriyah Asna Juwaira Asriani Asriani Ariani Asriani Asriani Auzora Vidya Nataha Cindi Pricilia Cindy Claudia* Cut Faizah Cut Fauziah Cut Nyakdhin CUT ZAHARA ROZA DEDE RUSLAN Dessy Ekawati Dina Hidayati Dinda Saputri Eli Nurliza Emilza Syawitri Erfinawati Erfinawati Ersi Sisdianto Fadil Irfansyah Fadiyah Ramadani Faisal Faisal Faisal Farhan Azhar Marshal Fatikah Rahma Dewi Feny Nursyahwa Aulia Tarigan Fikria Nur Ramadani Fitrahwaty Fitrahwaty Fitrahwaty, Fitrahwaty Fitri Ayu Fitri Nurhaliza Ridwan Grace Cleosa Panesa Pelmelay Hafsah HS Hafsah. HS Hairani Hairani Hasibuan, Ahmad Fauzul Hakim Hayati Hazriani, Hazriani Helmi Apriliyatmi Hapwiyah Heni Pujiastuti Hery Syahrial Hifny Nashif Ichsan Ichsan Ika Febriana Imas Nurjanah Indah Afriliani Indani Indani Indonesia, Hafizhatu Nadia Indriana Dachi Indriana Dachi Isbadar Nursit Ismawirna isti, Nuraqsa Istifarni Jullimursyida Junaidi Junaidi Junaidi Junaidi Kaiesa Riahatul Muntaza Kania Fauziah Khairani Alawiyah Matondang Khairnadila Putri Apandi Kurnia Shandi Lailani Fitria Lazim. N Lazim. N Lisa Rahmania Listari, Nening Lora Theresia Lora Theresia Panggabean M. Ikbal M. Manugeren Margaretha Sembiring Maslena Maslena Mawardati Melani Adila Putri Mery Kristiani Susanti S Meutia Nanda* Mhd Rayyan Fahadi Mujiburrahman Mujiburrahman Mukhlis Mukhlis Mukhlish Muhammad Nur Mukhriza Harahap Munardi Munardi Munawarah Mursyidah Muspiroh, Novianti Mutia Budhi Utami Nainggolan, Icha Riska Gloria Nasrudin Nasywa Harahap Nayla Husna Afila Nazli Hasan Nazma Aliya Nisaul Kamila Nur Asyah Nur Laila Meilani Nuraiza Nuraiza Nurhabibah Nasution Nurhasanah Nurhasanah Nurliza, Eli Nursafiah, Nursafiah Nusaindah Nurul Amin Perawati Puji Prastowo Purwarno, Purwarno Rahmadini, Annisa Fitri Rajab Bahry Rajudin Ratna Mutia Ria Yulia Gloria Rini Nurul Amla Rozana Putri RR. Ettie Rukmigarsari Saadiah Saadiah saryati Siti Komariah Siti Naila Fauzia Siti Wardatul Jannah Suci Rakhmawati Sutriani Sutriani Syamsul Bahri Tasya Amalia Tiok Wijanarko Tisya Khairunnisa Titis Eka Setiyaningsih Vera Devani Vera Wardani Vindy Aninditha Putri Wahyu Guslistiawan Wisman Hadi Yofita Intan Putri Kasih Yosua Bintang Halomoan Yulian Widya Saputra Yunasfi Djayus Yuyun, Yuyun Zahwa Aulia Zakia Masrurah Zariul Antosa Zaskia Dyayu Larasati Zulkhairi Sofyan