Articles
<![CDATA[Interferensi fonologis pada tuturan bahasa Indonesia pemelajar BIPA dengan bahasa pertama bahasa Prancis ]]>
<![CDATA[Dhamalia Lantika]]>;
<![CDATA[Hayatul Cholsy]]>
<![CDATA[ Jurnal Bahasa Indonesia bagi Penutur Asing Vol 5, No 1 (2023): Jurnal Bahasa Indonesia bagi Penutur Asing (JBIPA) ]]>
Publisher : <![CDATA[Badan Pengembangan dan Pembinaan Bahasa ]]>
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DOI: 10.26499/jbipa.v5i1.6096
<![CDATA[Interference is the effect of language learners' first language on their production of the language they are learning. It is a phenomenon that cannot be avoided by a second language learner. One of the most frequent interferences is phonological interference, as it happened to BIPA students with French as their first language. The purpose of this research is to show and explain why the phonological interference happens to them. This research is a qualitative research. The data were obtained using the free method of listening to engagement and recording techniques. The data were transcribed phonemically and phonetically, then analyzed in two ways, namely contrastive analysis and comparative descriptive analysis. Based on this research, it was found that BIPA students tend to eliminate the sound [h] which is at the beginning, middle and end of words, pronounce the sound /r/ with [R] uvular, cut syllables in Indonesian words with the syllable system in French, sometimes eliminating sound /s/, pronounce the sound /g/ with [ʒ] inconsistently, and still use the nasal vowel system in their Indonesian. It was also found that the learner's Indonesian speech was better if they spoke another foreign language with a phonological system similar to Indonesian.]]>
<![CDATA[Facultative Liaison as a Formal Register Marker in French Oral Communication ]]>
<![CDATA[Nani Kusrini]]>;
<![CDATA[Sajarwa Sajarwa]]>;
<![CDATA[B.R. Suryo Baskoro]]>;
<![CDATA[Hayatul Cholsy]]>
<![CDATA[ JURNAL ARBITRER Vol. 10 No. 1 (2023) ]]>
Publisher : <![CDATA[Masyarakat Linguistik Indonesia Universitas Andalas ]]>
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DOI: 10.25077/ar.10.1.19-23.2023
<![CDATA[Language variations based on the level of formality in spoken communication are not only determined by particular words or morphosyntax but also phonological elements. The concept of formality itself is considered the most important dimension of the variety of styles or registers. This study aims to describe the forms of facultative liaison in present-day French communication and liaison consonants formed by the linking process, to explain whether facultative liaison is still a marker of formal variety, and to reveal the factors that influence its use. This research is a sociolinguistic study with qualitative data using 15 recorded speeches by several politicians (formal) and 21 vlogs from French YouTubers (informal) with a total duration of 6 hours. The results of this study show that facultative liaison is used much more in formal than non-formal communication. Most forms of facultative liaison are a series of verbs être + determinant, auxiliary verbs être/avoir + participe passé (past participle), noun + adjective. It can be concluded that the more formal the communication, the more facultative liaisons are used. The liaison consonant [t] appears the most often, and the dominant factors in the use of facultative liaison are stylistics including formality, shared knowledge, etc, the sensitivity of formality, and the linguistic intuition of the speaker.]]>
<![CDATA[Speech Acts Equivalence of Audiovisual Translation on Enola Holmes Netflix Movie Subtitle ]]>
<![CDATA[Violita Violita]]>;
<![CDATA[Hayatul Cholsy]]>
<![CDATA[ IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature Vol. 10 No. 1 (2022): IDEAS: Journal on English Language Teaching and Learning, Linguistics and Lite ]]>
Publisher : <![CDATA[Institut Agama Islam Negeri Palopo ]]>
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DOI: 10.24256/ideas.v10i1.2589
<![CDATA[This research discusses the speech act equivalence involves in audiovisual translation of English-Indonesian subtitle on Enola Holmes Netflix movie. Since pragmatic equivalence is consider as to be the suitable one to be analyzed in Audiovisual Translation (AVT), this research look closely in case of translating the subtitle especially the movie with genre of adventure and mystery. This audiovisual translation research employs qualitative descriptive with the research design of content analysis. Also, there is involvement of analysis contrastive to be able to figure out the speech act equivalency. The data is taken from the subtitle Netflix movie of Enola Holmes. According to the result of this research, it shows some circumstances firstly the ST that is translated equivalent according to the speech act type can present the message equivalent with the context of the story. Secondly, the translation that cannot reach the speech act equivalency is less able to bring the context of the story into the TT translation. In addition, the implication exists in utterances present in ST can be conveyed in the TT if the speech act equivalency is achieved. Otherwise, there are also found that implication which exists in utterances present in ST cannot be portrayed in TT if the speech act equivalency cannot be achieved.]]>
<![CDATA[Pola Kehadiran Suara Penerjemah Dalam Terjemahan The Rainbow Troops Dari Novel Laskar Pelangi ]]>
<![CDATA[La Ode Andri]]>;
<![CDATA[Hayatul Cholsy]]>
<![CDATA[ PUSTAKA: Jurnal Bahasa dan Pendidikan Vol. 4 No. 2 (2024): April : Jurnal Bahasa dan Pendidikan ]]>
Publisher : <![CDATA[BADAN PENERBIT STIEPARI PRESS ]]>
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DOI: 10.56910/pustaka.v4i2.1179
<![CDATA[The translator’s voice does not appear explicitly in form of text whic is difficult to identify it’s presence. The research aims to invent the presence of translator’s voice and the pattern of it’s constructed in the text of The Rainbow Troops whic is translated from novel Laskar Pelangi. This research is a descriptive and qualitative reserach whics uses the data gathered from translated text. we focus on the “widening segment narrtive text” in translated version. Through an analysis of technique discursive creation, the widening segment of narrtive text represents the translator’s voice presence. Overall, we find that the translator’s voice presences could be categorized into character category (ibu muslimah, lintang dan pak harfan), non-character category (SD Muhammadiyah dan Sekolah PN), inanimate category (Geografis dan Demografi Sejarah) and entity intrarelation (PN-kemiskinan PN-SD dan SD-Samadikun). Moreover, the the translator’s voice presence through translator’s creativity in producing the new widenign form of text has bridged the gap of context between source text and the foreign reader linguistically and culturally. By this presence the emotion and situation of source text could be caught by foreign readres.]]>
<![CDATA[Strategi Taboo for Taboo pada Penerjemahan Kata-Kata Tabu dalam Novel Where There’s Smoke ]]>
<![CDATA[Ngaliyah, Himmatul]]>;
<![CDATA[Cholsy, Hayatul]]>
<![CDATA[ Bahtera: Jurnal Pendidikan Bahasa dan Sastra Vol 23 No 1 (2024): BAHTERA: Jurnal Pendidikan Bahasa dan Sastra, Volume 23 Nomor 1 Januari 2024 ]]>
Publisher : <![CDATA[Program Studi Pendidikan Bahasa Program Pascasarjana Universitas Negeri Jakarta ]]>
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DOI: 10.21009/bahtera.231.05
<![CDATA[The purpose of this research is to analyze taboo for taboo strategy and factors that influence in translating taboo words in the novel Where There's Smoke into Indonesian. The data for this research are taboo words in the novel Where There's Smoke and its translation in Indonesian entitled Pencarian which uses the taboo for taboo strategy in its translation. The taboo for taboo strategy maintains taboo from the source language (SL) into the target language (TL). Data collection techniques are carried out by reading and taking notes. The data analysis in this research is based on Davoodi’s theory (2009). From the research results, it was found that the taboo for taboo strategy can translate taboo words at the same taboo level as SL and taboo for taboo strategy with a lower taboo level than SL. Factors that influence the taboo for taboo strategy are the use of the same function of taboo words between SL and TL, the message and meaning conveyed are the same, the difference language systems of SL and TL, the translator's understanding of the culture of SL, the readers of the target text, translator's sociolinguistic abilities, and editor’s role.]]>
<![CDATA[SUARA PENERJEMAH DALAM PRAKTIK KREASI DISKURSIF PADA NOVEL TERJEMAHAN THE RAINBOW TROOPS ]]>
<![CDATA[andri, la ode]]>;
<![CDATA[Cholsy, Hayatul]]>
<![CDATA[ BASINDO : jurnal kajian bahasa, sastra Indonesia, dan pembelajarannya Vol 7, No 2 (2023): Basindo: Jurnal Kajian Bahasa, Sastra Indonesia, dan Pembelajarannya ]]>
Publisher : <![CDATA[Departemen Sastra Indonesia ]]>
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DOI: 10.17977/um007v7i22023p329-344
<![CDATA[Suara penerjemah dalam praktik penerjemahan kreasi diskursif telah menghasilkan bentuk terjemahan yang melampaui kesepadanan formal dan konten suatu teks sumber. praktik ini dapat dibenarkan merujuk pada orientasi dan tujuan dari penerjemahan itu sendiri. Perkembangan penelitian penerjemahan pada studi etika dan peran sosial telah menjadikan praktik penerjemahan melampaui jangkauan teks yang diterjemahkan. Studi penerjemahan telah beralih pada penelusuran posisi penerjemah termasuk suara yang membawa aspirasi pandangan, nilai dan sikap tertentu. Penelitian ini menggunakan model kausal pada teks terjemahan The Rainbow Troops. Model ini membantu penerjemah untuk membangun pertanyaan hipotesis tentang mengapa dan bagaimana penerjemahan termasuk suara penerjemah melalui keberadaan teks-teks naratif. Teknik kreasi diskursif digunakan untuk menganalisis teks-teks kreasi naratif penerjemah. sebab data yang digunakan hanya pada kreasi teks naratif saja tidak termasuk penghilangan, pemendekan atau metode lain yang menunjukkan perilaku kreatif penerjemah. Dari analisis narasi kreatif diskursif ini ditemukan data entitas-entitas yakni tokoh, non-tokoh dan relasi antar entitas yang mengalami penambahan secara diskursif oleh penerjemah. analisis selanjutnya ialah tentang bagaimana penerjemah memodifikasi teks untuk mendukung tujuan dari suara penerjemahan. Efek dari praktik diskursif menghasilkan pertambahan konten peristiwa, terciptanya teks naratif baru, munculnya tokoh baru, membangun konflik dan narasi resistensi di dalam teks terjemahan. Penelitian ini membuktikan bahwa penerjemahan mempertahankan narasi dan memperkuatnya sehingga dapat sampai kepada pembaca terjemahan. Ini berarti penerjemahan telah menjadi medium untuk menyampaikan pandangan global tertentu sebab melibatkan budaya dan bahasa lintas global.]]>
<![CDATA[Symbolic Meanings of Cooking in Enid Blyton’s The Famous Five Series ]]>
<![CDATA[Wulandari, Retno]]>;
<![CDATA[Pujiharto, Pujiharto]]>;
<![CDATA[Cholsy, Hayatul]]>
<![CDATA[ Anuva: Jurnal Kajian Budaya, Perpustakaan, dan Informasi Vol 7, No 4 (2023): Desember ]]>
Publisher : <![CDATA[Program Studi Ilmu Perpustakaan, Fakultas Ilmu Budaya, Universitas Diponegoro ]]>
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DOI: 10.14710/anuva.7.4.591-602
<![CDATA[Food and food preparation are the elements that usually reveals in works of literature. Its recurrent motif raises the assumption that they must contain some meanings in social and cultural realm. This paper analyses the symbolic meanings of cooking, as part of food preparation, in the British children work of literature, The Famous Five, written by Enid Blyton. The analysis uses theory of semiology proposed by Roland Barthes on denotative and connotative meanings and it is conducted through close-reading. The analysis results in how cooking becomes: first, a routine obligation, where the women cook mostly spend their time doing their work in the kitchen and work orderly to please; second, cooking as a marker of maturity for coming-of-age girls, in which teenage becomes the time marker that a girl must be able to cook; third, cooking as a marker of gender-based job division, where women should involve in domestic works, while men dedicate in public sphere. The children’s literature becomes one of the effective tools to embed the values and beliefs in children’s mind as childhood is the golden age to receive any information through the children’s senses. ]]>
<![CDATA[Kesepadanan Pragmatik Dark Humor Pada Serial TV “Family Guy” ]]>
<![CDATA[Naufal, Muhammad]]>;
<![CDATA[Cholsy, Hayatul]]>
<![CDATA[ Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Vol 8, No 2 (2024): April 2024 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya Universitas Mulawarman ]]>
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DOI: 10.30872/jbssb.v8i2.14798
<![CDATA[Artikel ini bertujuan untuk mengidentifikasi kesepadanan pragmatik pada dark humor dalam penerjemahan takarir dalam serial TV Family Guy. Penelitian ini menggunakan teori kesepadanan pragmatik oleh Mona Baker. Metode deskriptif, komparatif, dan interpretatif digunakan untuk menganalisis data dalam penelitian ini. Pengumpulan data dilakukan dengan menggunakan teknik simak dan catat. Data untuk penelitian ini berupa dark humor berbentuk takarir dalam Bahasa inggris dan Bahasa Indonesia yang didapatkan pada episode-episode dari season terakhir serial TV Family Guy yang dapat ditonton melalui website Disney+ Hotstar. Penelitian ini menemukan beberapa jenis dark humor dari episode-episode pada season akhir serial TV Family Guy, dan ditemukan pula penerjemah melakukan beberapa teknik penerjemahan dalam menerjemahkan dark humor Bahasa inggris ke Bahasa Indonesia, teknik penerjemahan ini dilakukan agar hasil terjemahan sesuai dengan kebudayaan yang berada di Indonesia. Hal ini membuat penyampaian pesan berhasil dipindahkan dari Bahasa target ke dalam Bahasa sasaran, namun karena ini pula, dark humor yang terdapat dalam Bahasa inggris tidak dapat disampaikan secara penuh ke dalam Bahasa Indonesia.]]>
<![CDATA[The Translation Forms of First-Person Pronouns in Murder on the Orient Express ]]>
<![CDATA[Ferisa]]>;
<![CDATA[Hayatul Cholsy]]>
<![CDATA[ SPHOTA: Jurnal Linguistik dan Sastra Vol. 17 No. 1 (2025): SPHOTA: Jurnal Linguistik dan Sastra ]]>
Publisher : <![CDATA[Fakultas Bahasa Asing (FBA) Universitas Mahasaraswati Denpasar ]]>
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DOI: 10.36733/sphota.v17i1.9425
<![CDATA[This research aims to describe the translation forms of first-person pronouns used as the subject and object from English into Indonesian. This research is descriptive-comparative with a qualitative approach, which explores the nature of first-person pronouns in two novels. The problem of this research is how the equivalent forms are found in translating first-person pronouns from English into Indonesian in the novel “Murder on the Orients Express”. The results show that there are 155 first-person pronouns in the English novel, indicating that the translation of these pronouns, “I” can be aku, ku- kami, and saya, “me” can be kita and sayalah, “we” can be kereta, kami, and kita, and “us” can be kita and kemari. The differences in translation results are due to the different pronoun systems. English does not have an inclusive and exclusive system for “we”, while Indonesian does not have the first-person pronouns in terms of subjects and objects.]]>
<![CDATA[The language use on instagram: Sociolinguistic studies on the speech code of netizens in the city of Makassar in buying and selling food through instagram ]]>
<![CDATA[Andi Samsu Rijal]]>;
<![CDATA[Suhandano Suhandano]]>;
<![CDATA[Hayatul Cholsy]]>
<![CDATA[ AMCA Journal of Community Development Vol. 2 No. 2 (2022): AMCA Journal of Community Development ]]>
Publisher : <![CDATA[AMCA ]]>
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DOI: 10.51773/ajcd.v2i2.143
<![CDATA[Instagram was a very popular social media today in Indonesia, especially for millennials. The popularity of Instagram media has been used as a means of promoting food products by culinary traders in the city of Makassar. With the promotion of food products through Instagram, netizens' speech interactions in the comments column started from asking for prices, menus, ordering or reservation systems, to marking each other and inviting their friends to eat together. This study aimed to describe the language variations on Instagram carried out by netizens in Makassar City. This research was a qualitative descriptive study and the research data is in the form of text, namely the speech of buying and selling food in the comments column for uploading advertisements for culinary account users on Instagram. Data collection was carried out from April 2020 to April 2021, during which this period was also marked by the implementation of large-scale social restrictions to minimize the spread of COVID-19. In netizen communication through Instagram, there was code-mixing of Indonesian language codes with foreign languages, regional languages and the mixing of Makassar Malay speech codes. This study found several uses of language variations in the form of words, phrases and sentences. There were various variations of non-standard language in the form of word approaches, abbreviations, and the use of foreign term insertions adopted by speakers. The use of code-mixing and informal language can be interpreted as a form of tertiary oral as well as everyday forms of communication but was carried out in written form through communication media. Communication through social media Instagram has changed the way individuals communicate and has also changed the use of people's language.]]>
