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All Journal Piktorial : Journal of Humanities DEIKTIS: Jurnal Pendidikan Bahasa dan Sastra Alinea: Jurnal Bahasa, Sastra dan Pengajaran Jurnal Bastra (Bahasa dan Sastra)
Sri Yanuarsih
Universitas PGRI Ronggolawe Tuban
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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PENERAPAN MODE LINGUISTIK DALAM VIDEO KANAL YOUTUBE KINDERFLIX: KAJIAN SEMIOTIKA Indriana Sulistyo Rini; I Wayan Letreng; Sri Yanuarsih
Jurnal Bastra (Bahasa dan Sastra) Vol. 10 No. 4 (2025): JURNAL BASTRA EDISI OKTOBER 2025
Publisher : Program Studi Pendidikan Bahasa dan Sastra Indonesia, FKIP, Universitas Halu Oleo Kampus Bumi Tridharma Andounohu Kendari, Provinsi Sulawesi Tenggara – Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36709/bastra.v10i4.1928

Abstract

This study aims to examine the application of the linguistic mode in educational videos on the Kinderflix YouTube channel using a social semiotic approach. The linguistic mode refers to the use of spoken language as a primary tool for delivering messages, building interaction, and shaping meaning. In the context of educational videos, the linguistic mode is applied through narration, invitations, questions, and verbal praise delivered by the narrator. This research employs a descriptive qualitative method with observation and note-taking techniques to collect data from two Kinderflix videos. The data were analyzed using Kress and van Leeuwen’s theory of multimodality and Halliday’s systemic functional linguistics. The findings show that the linguistic mode in Kinderflix videos not only conveys information explicitly but also functions as a visual guide, a cognitive stimulus, and a medium for fostering social interaction with child audiences. Verbal language works integratively with other modes such as visual, auditory, and gestural to create an interactive and educational multimodal communication experience.
AFFILIATIVE HUMOR DALAM DIALOG FILM CEK TOKO SEBELAH KARYA ERNEST PRAKASA: KAJIAN PRAGMATIK Nur Eka Zulfina Maulida; Sri Yanuarsih; I Wayan Letreng
Jurnal Bastra (Bahasa dan Sastra) Vol. 10 No. 4 (2025): JURNAL BASTRA EDISI OKTOBER 2025
Publisher : Program Studi Pendidikan Bahasa dan Sastra Indonesia, FKIP, Universitas Halu Oleo Kampus Bumi Tridharma Andounohu Kendari, Provinsi Sulawesi Tenggara – Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36709/bastra.v10i4.1929

Abstract

This article examines the characteristics of humor, specifically affiliative humor, found in the dialogue of the film Cek Toko Sebelah directed by Ernest Prakasa. The study employs a pragmatic approach based on Rod A. Martin’s (2021) theory, which defines affiliative humor as a type of humor intended to strengthen social bonds through light, non-offensive jokes. The findings reveal that affiliative humor appears in various interactions between characters through spontaneous conversations, everyday jokes, and witty responses to social situations. This type of humor functions not only as an element of entertainment but also as a communicative tool to foster closeness and comfort in social interaction. These findings emphasize that humor in film is not merely a form of entertainment, but also carries profound pragmatic functions. In the context of Indonesian culture, affiliative humor serves as a communicative bridge that reflects values of togetherness, solidarity, and emotional intimacy. Therefore, the analysis of this humor style is not only relevant to linguistic and pragmatic studies, but also essential in understanding social representations in popular media.       
WACANA KRITIS CELAAN FISIK DALAM FILM IMPERFECT: ANALISIS STRUKTUR TEKS, KOGNISI SOSIAL, DAN KONTEKS SOSIAL Siti Aisyah; I Wayan Letreng; Sri Yanuarsih
Jurnal Bastra (Bahasa dan Sastra) Vol. 10 No. 4 (2025): JURNAL BASTRA EDISI OKTOBER 2025
Publisher : Program Studi Pendidikan Bahasa dan Sastra Indonesia, FKIP, Universitas Halu Oleo Kampus Bumi Tridharma Andounohu Kendari, Provinsi Sulawesi Tenggara – Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36709/bastra.v10i4.1930

Abstract

This study aims to analyze the discourse of physical abuse against women in Ernest Prakasa's film This study aims to examine the critical discourse of physical abuse in the film Imperfect using Teun A. van Dijk's Critical Discourse Analysis (CDA) approach. The study focuses on three main dimensions: text structure, social cognition, and social context. The film Imperfect was chosen because it represents social issues such as body shaming, pressures of beauty standards, and the physical marginalization experienced by female characters. The research method used is descriptive qualitative, with data collection techniques consisting of observation and documentation of the film's dialogues. The results show that: (1) Structurally, the discourse of physical abuse in the film is constructed through word choice, narrative structure, and the use of verbal expressions that depict physical stereotypes. (2) Social cognition in the film shows how social actors understand and reproduce the ideology of beauty rooted in society. (3) The social context shows that the discourse of physical abuse arises due to the influence of popular culture, the beauty industry, and the dominant patriarchal system. This study concludes that language in the film Imperfect is not only a means of communication, but also a means of reproducing ideology and power over women's bodies.
KAJIAN MORFOLOGI PADA ASPEK MORFEM DALAM TEKS BERITA INFO TUBAN DI INSTAGRAM A. Alfin Fatkhur Rohim; Sri Yanuarsih; I Wayan Letreng
Jurnal Bastra (Bahasa dan Sastra) Vol. 10 No. 4 (2025): JURNAL BASTRA EDISI OKTOBER 2025
Publisher : Program Studi Pendidikan Bahasa dan Sastra Indonesia, FKIP, Universitas Halu Oleo Kampus Bumi Tridharma Andounohu Kendari, Provinsi Sulawesi Tenggara – Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36709/bastra.v10i4.1936

Abstract

This research focuses on the study of morphology in news texts published on the Info Tuban Instagram account. The purpose of this study is to describe the morphological processes contained in the news texts, including the use of morphemes, affixation, and reduplication. The research method used is descriptive qualitative with data collection techniques in the form of documentation of news posts from the Info Tuban account. The collected data were then analyzed based on morphological theory to identify word forms, structures, and formation processes. The results show that the Info Tuban news texts contain various morphological forms including prefixes, suffixes, confixes, and the use of word reduplication that serves to clarify meaning and provide emphasis on information. This study is expected to contribute to understanding the characteristics of language on social media and become a reference for linguistic research, especially in the field of morphology.
HEGEMONI IDIOLOGIS TOTAL DALAM FILM ALIF LAM MIM KARYA ANGGY UMBARA Doni Purnawan; Sri Yanuarsih; I Wayan Letreng
Jurnal Bastra (Bahasa dan Sastra) Vol. 10 No. 4 (2025): JURNAL BASTRA EDISI OKTOBER 2025
Publisher : Program Studi Pendidikan Bahasa dan Sastra Indonesia, FKIP, Universitas Halu Oleo Kampus Bumi Tridharma Andounohu Kendari, Provinsi Sulawesi Tenggara – Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36709/bastra.v10i4.1939

Abstract

This study examines the representation of ideological hegemony in the film Alif Lam Mim by Anggy Umbara, which reflects the socio-political dynamics of Indonesia in the future. As a mass communication medium, film not only functions as entertainment but also serves as a means of education and social criticism. This film depicts the dominance of military and religious institutions in restricting individual freedoms through a hegemonic system of power. This research uses a descriptive qualitative approach with Antonio Gramsci’s theory of hegemony as the analytical framework. Gramsci classifies hegemony into three forms: total hegemony, declining hegemony, and minimal hegemony. Total hegemony is seen through state domination that is voluntarily accepted by society without significant resistance. This is reflected in news broadcasts that normalize violence and obscure its structural roots. Declining hegemony emerges when characters in the film begin to question the system and show inner resistance, although not yet openly. Meanwhile, minimal hegemony is marked by explicit resistance to power, rejection of media manipulation, and the emergence of conflict between personal awareness and dominant ideology. Data were collected through observation and documentation of the film’s dialogues, then analyzed using the Gramscian model. The results show that this film is a critique of ideological domination through popular media, illustrating power relations between the dominant class and the subaltern. Alif Lam Mim represents forms of ideological hegemony that are relevant to the contemporary socio-political realities in Indonesia.
PSIKOANALISIS SIGMUND FREUD DALAM ANIME ONE PIECE KARYA EIICHIRO ODA Moch Mukhlas; Sri Yanuarsih; I Wayan Letreng
Jurnal Bastra (Bahasa dan Sastra) Vol. 10 No. 4 (2025): JURNAL BASTRA EDISI OKTOBER 2025
Publisher : Program Studi Pendidikan Bahasa dan Sastra Indonesia, FKIP, Universitas Halu Oleo Kampus Bumi Tridharma Andounohu Kendari, Provinsi Sulawesi Tenggara – Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36709/bastra.v10i4.1941

Abstract

This study investigates the internal psychological composition of key characters in the anime One Piece, focusing on the Skypiea arc, by employing Sigmund Freud’s psychoanalytic theory. Utilizing a qualitative descriptive method, the research centers on five major characters: Monkey D. Luffy, Enel, Nami, Sanji, and Gan Fall. These figures were chosen due to their significant influence on the plot and the evident psychological complexity they display throughout the storyline. The data were collected through non-intrusive observation of episodes 185 to 192, emphasizing character dialogue, behavior, and interactions that represent the Freudian personality structures of Id, Ego, and Superego. The analysis shows that Enel predominantly operates under the influence of the Id, marked by his selfish desires, aggressive tendencies, and disregard for ethical boundaries. On the other hand, Luffy and Usopp are characterized by their use of the Ego, navigating challenging situations with rational judgment and emotional control. Meanwhile, Nami and Gan Fall exemplify the Superego, guided by moral values, compassion, and a strong sense of duty. These portrayals underline the psychological depth embedded in the anime’s narrative. The research highlights the potential of anime as a medium for scholarly exploration, particularly within literary and psychological studies. It affirms that popular visual culture, such as One Piece, can reflect intricate human behavior and mental processes. Therefore, this study contributes to expanding the academic scope of literary psychology and invites further interdisciplinary investigation.
Campur Kode dalam Film Pendek "Capciptop" di Kanal Youtube Ravacana Films Ellisa Eka Nur Septia; Sri Yanuarsih; Saya Wayan Letreng
Alinea: Jurnal Bahasa, Sastra, dan Pengajaran Vol. 15 No. 1 (2026): Bahasa, Sastra, Pengajaran
Publisher : Universitas Suryakanca

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This article describes the forms of code-mixing and the social factors underlying them. The study employed a qualitative descriptive method. The data source consisted of dialogues between characters. Data collection was conducted through listening and note-taking, while data analysis employed a matching method with a sorting technique. The results of the study indicate that code-mixing in the film “Capciptop” occurs naturally in informal speech situations. Javanese serves as the primary code, while Indonesian and foreign languages ​​are interspersed in the form of words and phrases. The resulting code-mixing is influenced by several social factors, including the closeness of the relationships between characters, the context of the speech situation, the speaker's generational background, and the influence of modern culture and digital technology. Functionally, code-mixing in the film serves as a marker of cultural identity, an expressive medium, and a pragmatic strategy in communication. Abstrak Artikel ini   mendeskripsikan bentuk-bentuk campur kode serta faktor sosial yang melatarbelakanginya. Penelitian  menggunakan metode deskriptif kualitatif. Sumber data berupa dialog antartokoh. Teknik pengumpulan data dilakukan melalui teknik simak dan catat, sedangkan analisis data menggunakan metode padan dengan teknik pilah. Hasil penelitian menunjukkan bahwa campur kode dalam film “Capciptop” terjadi secara alami dalam situasi tutur yang bersifat informal. Bahasa Jawa berperan sebagai kode utama, sementara bahasa Indonesia dan bahasa asing disisipkan dalam bentuk kata dan frasa. Campur kode yang muncul dipengaruhi oleh beberapa faktor sosial, antara lain kedekatan hubungan antartokoh, konteks situasi tutur, latar generasi penutur, serta pengaruh budaya modern dan teknologi digital. Secara fungsional, campur kode dalam film berperan sebagai penanda identitas budaya, sarana ekspresif, serta strategi pragmatik dalam komunikasi.
Co-Authors A. Alfin Fatkhur Rohim Afthoniya Nurin Nadhifa Amanda Zahrotul Azaria Amella Anandita Andre Kurniawan Aulia Rahmawati Cicik Dwi Nur Atiqoh Dhida Meilando Cahyo Rio Utomo Dila Agustina Dista Melanise Doni Purnawan Ellisa Eka Nur Septia Ellisa Eka Nur Septia Firdausi Nunzula I Wayan Lentreng I Wayan Letreng Icha Septiani Firnanda Imarotul Khoiriyah Imron Abadi Indriana Sulistyo Rini Irfan Abdullah Azam Khoirun Nisa M. Imron Abadi Manda Aprilia Mariatul Qiftiyah Moch Mukhlas Nabila Tasya Aulia Nisfi Arba` Indah Novita Fitrianingsih Nur Eka Zulfina Maulida Saya Wayan Letreng Siti Aisyah Siti Khasanah Siti Mahmudah Siti Tuhfatus Sholikhah Suantoko Suantoko Susanti Susanti Syadeka Nisa Hanifah Yunita Suryani