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All Journal Seminar Nasional Aplikasi Teknologi Informasi (SNATI) Jurnal Online Mahasiswa (JOM) Bidang Matematika dan Ilmu Pengetahuan Alam Jurnal Perencanaan Wilayah Jurnal Progres Ekonomi Pembangunan JEP (Jurnal Ekonomi Pembangunan) Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Jurnal Aplikasi Teknologi Pangan Sawala : Jurnal Administrasi Negara Jurnal Riset Teknologi dan Inovasi Pendidikan (Jartika) Jurnal Pendidikan Ilmu Pengetahuan Alam (JP-IPA) PROSISKO : Jurnal Pengembangan Riset dan observasi Rekayasa Sistem Komputer JEP (Jurnal Ekonomi Pembangunan) Amal Ilmiah: Jurnal Pengabdian Kepada Masyarakat Sabangka Abdimas Jurnal Pengabdian Masyarakat Sabangka Journal Innovation In Education Jurnal Intelek Insan Cendikia Al-Musthafa: Jurnal Kependidikan dan Keilmuan Berbasis Islam Ruhui Rahayu: Jurnal Pengabdian Kepada Masyarakat Nursing Case Insight Journal

M. Natsir

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Author-ID : 329094

Religion Agriculture, Biological Sciences & Forestry Arts Humanities Biochemistry, Genetics & Molecular Biology Chemical Engineering, Chemistry & Bioengineering Chemistry Civil Engineering, Building, Construction & Architecture Computer Science & IT Control & Systems Engineering Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Electrical & Electronics Engineering Engineering Environmental Science Health Professions Immunology & microbiology Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Mathematics Mechanical Engineering Medicine & Pharmacology Nursing Physics Public Health Social Sciences Transportation Other

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THE RADICAL FEMINISM OF IMPERATOR FURIOSA’S CHARACTER IN MAD MAX FURY ROAD FILM (2015) Sibarani, Soraya Prasasty Marito; Natsir, M.; M., Fatimah
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Vol 4, No 1 (2020): Januari 2020
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

The purposes of this research were to find out the way of Imperator Furiosa’s character represents in radical feminism in Mad Max Fury Road film (2015). The design of this research was qualitative research. The data of this research were taken from dialogue, scene, action, and speech based on the film. The data of this research were analyzed by using radical feminism theory by Rosemarie. P. Tong in Feminist Thought a More Comprehensive Introduction (2009) and the categorized as Furiosa’s character representation of radical feminism through the theory of indirect characterization by Kelly Griffth. The result of this research showed Imperator Furiosa represented two kinds of radical feminism. First was radical libertarian feminism which were androgyny which found in the Furiosa’s character appearance, character dialogue, character speech, character action. And seizes the meaning of reproduction which found in the Furiosa’s character dialogue. Second was radical cultural feminism which is women using reproduction as a trump card and power which found in the Furiosa’s character speech.

THE FUNCTIONS OF DIRECTIVE SPEECH ACTS OF MALEFICENT CHARACTER IN MALEFICENT MOVIE Biatrik, Desy; Natsir, M.; Kuncara, Singgih Daru
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Vol 4, No 3 (2020): Juli 2020
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v4i3.2869

ABSTRACT The objectives of this study were to identify the types of directive speech acts and functions of language existed in Maleficent’s utterances. There were two theories used in order to fulfill the two objectives of this study. Searle’s (1979) types of directives helped the writer to identify types of directives speech acts uttered by Maleficent. While Jakobson’s (1960) functions of language helped to identify functions of language existed in each directive of Maleficent. This study was a qualitative research due to the fact of using words as its data taken from Maleficent movie script. As the method in analysing data, this study used conversation analysis in which taking account not only the utterances of Maleficent, but also the actions involved within. As the results, there were five types of directive speech acts and three functions of language found in the utterances of Maleficent in Maleficent movie script. The five types of directive speech acts were commanding, inviting, forbidding, requesting, and suggesting. Of all these five types, commanding was the most uttered and effective type by Maleficent regarding her role as the Moors’ protector who gave her the authority to command other people. Meanwhile, the three functions of language in Maleficent’s directives were expressive, conative, and referential.

ILLOCUTIONARY ACT OF MIRANDA PRIESTLY CHARACTER IN THE DEVIL WEARS PRADA FILM Wonata, Indri Ari Markus; Natsir, M.; Ariani, Setya
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Vol 2, No 4 (2018): Oktober 2018
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

ABSTRACT People are more likely to convey their intention implicitly than explicitly. A speaker tends to use implicit message with the expectation that his or her hearer could interpret the real intention within the message. Yet, the real intention itself is not always appear clearly due to the different form of interpretation by each person (both the speaker and hearer). A speaker may convey certain meaning of his utterance then achieved differently by the hearer. This is what so called as “ambiguity” when an utterance has more than one meaning. This research aimed to identify the illocutionary acts and its types used by Miranda Priestly character in The Devil Wears Prada Film. The design of this research was descriptive qualitative. The writer collected the data from the film dialogues then classified the utterances into the categories based on the theory of illocutionary by Searle. The findings showed there were five types of illocutionary act found in this research: representative (complain, assure, and inform), directive (command and ask), commissive (promise), expressive (deploring, thank and congratulate), and declarative (disapprove and appoint). The most dominant type of illocutionary acts found in this film was directive. In directive illocutionary acts itself, command acts were dominantly used by Miranda Priestly character. Keywords: illocutionary acts, film, character ABSTRAK Pada umumnya maysyarakat cenderung menyampaikan suatu maksud dalam bentuk yang implisit daripada secara eksplisit. Seorang pembicara yang menyampaikan maksudnya secara implicit cenderung mengaharapkan bahwa pendengarnya dapat mengerti maksud implisitnya sesuai dengan apa yang ia maksudkan. Akan tetapi, arti sebenarnya dari ungkapan implisit tidak selalu nampak secara jelas bagi pendengarnya mengingat perbedaan interpretasi dari setiap orang (baik dari pembicara maupun pendengar). Pembicara mengutarakan maksudnya kepada pendengar yang kemudian dapat diartikan berbeda dari maksud asli si pembicara tersebut. Hal inilah yang sering disebut dengan “keambiguan”dimana suatu ungkapan dapat memiliki lebih dari satu arti. Penelitian ini bertujuan untuk mengidentifikasi bentuk-bentuk ilokusi dan jenis-jenisnya dalam karakter Miranda Priestly difilm The Devil Wears Prada. Bentuk penelitian ini berupa deskripsi kualitatif. Penulis mengumpulkan data penelitian ini dari dialog-dialog film The Devil Wears Prada dan kemudian mengklasifikasi ungkapan-ungkapannya kedalam teori ilokusi dari Searle. Hasil penelitian ini menunjukkan terdapat lima jenis dari bentuk-bentuk ilokusi dalam karakter Miranda Priestly difilm The Devil Wears Prada: representative (dalam ungkapan keluhan, pemastian, dan menginformasi), directive (dalam umgkapan perintah dan meminta), commissive (dalam ungkapan janji), expressive (dalam ungkapan menyayangkan sesuatu, berterima kasih, dan memberikan ucapan selamat), dan declarative (dalam ungkapan menolak dan memutuskan sesuatu). Jenis ilokusi yang paling mendominasi digunakan oleh karakter Miranda Priestly adalah jenis directive. Didalan ilokusi directive, karakter Miranda Priestly paling sering menggunakan ungkapan perintah. Kata kunci: bentuk-bentuk ilokusi, film, tokoh

SOCIAL PROCESSES IN THE FORMATION OF DRE PARKER’S CHARACTER IN "KARATE KID" FILM (2010) Andriana, Wahyu Sartika; Natsir, M.; Valiantien, Nita Maya
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Vol 2, No 1 (2018): Edisi Januari 2018
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

ABSTRACT There are two objectives of research in this study, such as, to show the character formation that occurred in the character of Dre in Karate Kid film 2010, and to analyze how Dre experienced character changes shaped by social processes in Karate Kid film 2010. This analysis includes to descriptive qualitative method. This researcher used the Karate Kid film 2010 as the source of data. The data derived from the utterances of major characters containing the elements of social processes. From the finding of this analysis, the elements of social processes there are two classifications, first is associative social process, in associative social process such as; cooperation (team work), accommodation (agreement), assimilation (cultural fusion). The second classification of social process is dissociative social process, in dissociative social process such as; competition (compete in a good way), conflict (compete in a bad way). Keywords: individual, character formation, social process, hierarchy needs ABSTRAK Ada dua tujuan penelitian dalam penelitian ini, seperti, untuk menunjukkan pembentukkan karakter yang terjadi pada karakter Dre dalam film Karate Kid 2010, dan untuk menganalisis bagaimana Dre mengalami perubahan karakter yang dibentuk oleh proses sosial di film Karate Kid 2010. Analisis ini termasuk dalam metode deskriptif kualitatif. Peneliti ini menggunakan film Karate Kid 2010 sebagai sumber data. Data berasal dari ujaran karakter utama yang mengandung unsur-unsur proses sosial. Dari analisis ini, unsur-unsur proses sosial ada dua klasifikasi, pertama adalah proses sosial asosiatif, dalam proses sosial asosiatif seperti; kerjasama (kerja tim), akomodasi (kesepakatan), asimilasi. Klasifikasi kedua proses sosial adalah proses sosial disosiatif, dalam proses sosial disosiatif seperti; kompetisi (bersaing dengan cara yang baik), konflik (bersaing dengan cara yang buruk). Kata kunci: individu, pembentukkan karakter, proses sosial, kebutuhan hierarki

THE ERRORS OF SPEECH PRODUCTION IN DORY’S UTTERANCES OF FINDING DORY MOVIE Vahlevi, Reza; Natsir, M.; Setyowati, Ririn
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Vol 4, No 4 (2020): Oktober 2020
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v4i4.3294

This study is aimed to find out the errors of speech production in Dory’s utterances of Finding Dory movie. The theory used to find out the errors of Dory’s speech production was Levelt’s model of speech production (1999): conceptualisation, formulation, articulation, and self-monitoring. Words in the form of dialogues (Dory’s utterances when her short-term memory loss appeared only) were the data in this study. The research design of this study was qualitative. The results showed the errors of speech production in Dory’s utterances were identified into five types such as words substitution, contradictory utterance, similar words rhyming, incomplete utterances, and hesitation utterance. The most affected stage by Dory’s short-term memory loss was conceptualisation. It was because during the times when short-term memory loss appeared, Dory realised that her disorder infiltrating the stage that made her to be unsatisfied and as the result, she retracted and performed her utterances from the beginning many times. Therefore, this study concluded the errors that Dory produced in her speech production were all caused by the interference of short-term memory loss.

Co-Authors ', Mashadi ABD. RAHMAN Aceng Haetami, Aceng Agusni ' Aidillah Fitri Al-Mufti, Alex Yusron Alreza, Eko Ridho Ambo Wonua Nusantara Andri Suhendarsah Andriana, Wahyu Sartika Anugrah, Sukma Aprialtin, Fildzah Aprilia, Wiwin Ariani, Wa Ode Rachmasari As'ad, Ali Asli Sirait Ayudiah Cisita Bahrudin Biatrik, Desy Bustami ' Carolina, Armelia Chris Asanti, Chris Desi Trisna Desmira Desmira Edi Hasan EKA YUNIARTI Endang Lily Fransisca, Candra Hafiezd, Rizki Chaidier Hamdi Rahman Harif, Laode Hidayatullah Hasan, Edi Hasriati Hasriati Heppi Millia Imran Imran Indah Sari Lubis, Indah Sari Indah Suryani Indrawan Dwisetya Suhendi, Indrawan Dwisetya Kadir, La Ode Abd Kartika Zaini Kartina, Ema Kartini, Eva La Ode Geo La Ode Muh. Magribi La Ode Santiaji Bande La Ode Suriadi Laela Zarwatun Lapau, Fitri Lutfi Lutfi M., Fatimah Madarita, Madarita Mardiani, Lea Martha Sri P. Marwan Marwan Maulidiyah Maulidiyah Maya Selvia Laurin Muh. Harafah, La Ode Muhajir, Fatimah Muhammad Irwansyah, Muhammad Muhammad Nurdin Muhammad Syarif, Muhammad Muhammad Wajdi Muhammad Yunus Muslimin Makkaraeng Sikki Mutya Pratami Muzakkar, Muhammad Zakir Nasriadi, Nasriadi Nasrullah Nasrullah Nikman Azmin Nita Maya Valiantien Nohong Nohong, Nohong Nur, Syamsir Nuralamsyah, Muhammad Nurdayanti, Chevie Nurlela Nurlela Okmi Zerlan Paelongan, Natalius Pasrun Adam Pitaloka, Epifani Putri Prasojowati, Malikatin Wahyu Prima Endang Susilowati R, Halimatussaddiyah Rahayu, Famala Eka Sanhadi Rahmadhani, Fachreza Ratna Ratna Reni Widya Ririn Setyowati Rubianti, Rubianti Salabila Eka Ananda Salmansyah, Fandy Sandra Roza Sangkala Sari, Linda Sari, Norma Atika Setya Ariani Sibarani, Soraya Prasasty Marito Singgih Daru Kuncara Siska Mustikawati Hasibuan Sumarni Balaka Syamsir Syamsul Anam Tajuddin Tajuddin Tajuddin, Tajuddin Tamburaka, Irmawatty P Tampubolon, Wahyu Alexander THAMRIN AZIS Vahlevi, Reza Velissa Grace Aulia Situmorang Vidila Rosalina Wiweka Wiweka Wonata, Indri Ari Markus

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