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All Journal International Journal of Evaluation and Research in Education (IJERE) Basastra: Jurnal Kajian Bahasa dan Sastra Indonesia BASASTRA Harmonia: Journal of Research and Education Lembaran Ilmu Kependidikan Lingua Jurnal Bahasa dan Sastra Ar-Raniry, International Journal of Islamic Studies Semantik : Jurnal Ilmiah Program Studi Pendidikan Bahasa dan Sastra Indonesia Jurnal Penelitian Humaniora Indonesian Language Education and Literature The Journal of Educational Development Jurnal Pendidikan Bahasa Indonesia Diglosia Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya Silampari Bisa: Jurnal Penelitian Pendidikan Bahasa Indonesia, Daerah, dan Asing LINGUISTIK : Jurnal Bahasa dan Sastra Jurnal Basicedu Seloka: Jurnal Pendidikan Bahasa dan Sastra Indonesia JP-BSI (Jurnal Pendidikan Bahasa dan Sastra Indonesia) Journal of Primary Education Jurnal Pendidikan Bahasa dan Sastra Indonesia GERAM (GERAKAN AKTIF MENULIS) Jurnal Onoma: Pendidikan, Bahasa, dan Sastra Jurnal Sastra Indonesia SULUK: Jurnal Bahasa, Sastra, dan Budaya Ghancaran: Jurnal Pendidikan Bahasa dan Sastra Indonesia English Focus: Journal of English Language Education Metafora: Jurnal Pembelajaran Bahasa Dan Sastra Britain International for Linguistics, Arts and Education Journal (BIoLAE Journal) COMSERVA: Jurnal Penelitian dan Pengabdian Masyarakat Pena: Jurnal Pendidikan Bahasa dan Sastra Formosa Journal of Multidisciplinary Research (FJMR) Startupreneur Business Digital (SABDA Journal) Jurnal Basicedu UNNES International Conference on ELTLT Prosiding Seminar Nasional Pascasarjana Proceeding of International Conference on Science, Education, and Technology JURNAL PENDIDIKAN BAHASA Seloka: Jurnal Pendidikan Bahasa dan Sastra Indonesia Deiksis: Jurnal Pendidikan Bahasa dan Sastra Indonesia Aksara Anthology: Journal of Language, Literature, and Learning
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Journal : The Journal of Educational Development

Defamiliarization of Power Hegemony of the Characters in Ajidarmas Kitab Omong Kosong Prasetyo Utomo, S.; Nuryatin, Agus; A. Sayuti, Suminto; Supriyanto, Teguh
The Journal of Educational Development Vol 6 No 1 (2018): February 2018
Publisher : The Journal of Educational Development

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jed.v6i1.20676

Abstract

The intertextual study between Ajidarma’s Kitab Omong Kosong and the Ramayana romance hypogram composed by Rajagopalachari leads us to the defamiliarization of the hegemony of Ramas power, deviating to the heinous, barbaric, and harassing domination of power over the people of the Ayodya colony. In the Ramayana romance, the hegemony of Ramas power, as awatara Lord Vishnu, being honored by his people for his courage against Rahwanas wrath. The hegemony of Ramas power goes hand in hand with the moral, the virtues of life, and the dharma. Ajidarma’s Kitab Omong Kosong is marked by defamiliarization motives. The motives form a plot (sjuzet) that deviates from the Ramayana and creates the wholeness of the story (fabula) which is constructed with a unique structure. Ramas character is told by defamiliar motives that (1) deviate not far from convention, (2) balanced between convention and innovation, and (3) free oneself by convention. Ajidarma created the story of Rama with several advantages: (1) deviating the role of the characters, thus avoiding the binary opposition of black and white characters in reaching power, (2) the stories being woven in a unique story structure, alternating between myths, facts, and literary images, (3) as a whole the novel it creates presents a peculiar and unique story (fabula), and (4) the novel becomes a plural text, i.e. a text with plural interpretations.
Indonesian Absurdism in Noers Texts of Tetralogy Drama Entitled Orkes Madun Turahmat, Turahmat; Nuryatin, Agus; A. Sayuti, Suminto; Supriyanto, Teguh
The Journal of Educational Development Vol 6 No 1 (2018): February 2018
Publisher : The Journal of Educational Development

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jed.v6i1.20749

Abstract

Absurdism in drama script is different from the concept of absurdism in drama performance. In the performance, the absurdism can be firmly differentiated. In the script, this concept is still very confusing. Such issue will be worked out in this research by solving the following problems. 1) How is the form of absurdism in Noer’s texts of the drama tetralogy? 2) How is the characteristic of Indonesian typical absurdism in Noer’s tetralogy? 3) How is the redefinition of Indonesian distinctive absurdism based on the characteristic of Indonesian typical absurdism in Noer’s drama scripts? The method used is hermeneutics with a semiotic approach. Based on the discussion, the following conclusions are obtained. 1) Absurdism in the tetralogy Noer’s drama appears in the form of themes, characters naming, and plot or storyline. 2) The typical absurdism of Indonesian drama written by Noer is as follows. First, absurdity in drama actually appears from the belief in God. Second, human life is considered irrational, meaningless, worthless, or even playful. 3) The Indonesian distinctive absurdism redefinition based on the characteristic of Indonesian typical absurdism in Noer’s Orkes Madun is as follows. The typical Indonesian absurd drama text is a drama text that tells of the human life that is considered irrational, less meaningful, worthless, meaningless, or even considered to be playful, and arising out of trust in God.
Defamiliarization of Power Hegemony of the Characters in Ajidarma's Kitab Omong Kosong Prasetyo Utomo, S.; Nuryatin, Agus; A. Sayuti, Suminto; Supriyanto, Teguh
The Journal of Educational Development Vol 6 No 1 (2018): February 2018
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jed.v6i1.20676

Abstract

The intertextual study between Ajidarma’s Kitab Omong Kosong and the Ramayana romance hypogram composed by Rajagopalachari leads us to the defamiliarization of the hegemony of Rama's power, deviating to the heinous, barbaric, and harassing domination of power over the people of the Ayodya colony. In the Ramayana romance, the hegemony of Rama's power, as awatara Lord Vishnu, being honored by his people for his courage against Rahwana's wrath. The hegemony of Rama's power goes hand in hand with the moral, the virtues of life, and the dharma. Ajidarma’s Kitab Omong Kosong is marked by defamiliarization motives. The motives form a plot (sjuzet) that deviates from the Ramayana and creates the wholeness of the story (fabula) which is constructed with a unique structure. Rama's character is told by defamiliar motives that (1) deviate not far from convention, (2) balanced between convention and innovation, and (3) free oneself by convention. Ajidarma created the story of Rama with several advantages: (1) deviating the role of the characters, thus avoiding the binary opposition of black and white characters in reaching power, (2) the stories being woven in a unique story structure, alternating between myths, facts, and literary images, (3) as a whole the novel it creates presents a peculiar and unique story (fabula), and (4) the novel becomes a plural text, i.e. a text with plural interpretations.
Indonesian Absurdism in Noer's Texts of Tetralogy Drama Entitled Orkes Madun Turahmat, Turahmat; Nuryatin, Agus; A. Sayuti, Suminto; Supriyanto, Teguh
The Journal of Educational Development Vol 6 No 1 (2018): February 2018
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jed.v6i1.20749

Abstract

Absurdism in drama script is different from the concept of absurdism in drama performance. In the performance, the absurdism can be firmly differentiated. In the script, this concept is still very confusing. Such issue will be worked out in this research by solving the following problems. 1) How is the form of absurdism in Noer’s texts of the drama tetralogy? 2) How is the characteristic of Indonesian typical absurdism in Noer’s tetralogy? 3) How is the redefinition of Indonesian distinctive absurdism based on the characteristic of Indonesian typical absurdism in Noer’s drama scripts? The method used is hermeneutics with a semiotic approach. Based on the discussion, the following conclusions are obtained. 1) Absurdism in the tetralogy Noer’s drama appears in the form of themes, characters naming, and plot or storyline. 2) The typical absurdism of Indonesian drama written by Noer is as follows. First, absurdity in drama actually appears from the belief in God. Second, human life is considered irrational, meaningless, worthless, or even playful. 3) The Indonesian distinctive absurdism redefinition based on the characteristic of Indonesian typical absurdism in Noer’s Orkes Madun is as follows. The typical Indonesian absurd drama text is a drama text that tells of the human life that is considered irrational, less meaningful, worthless, meaningless, or even considered to be playful, and arising out of trust in God.
THE Exploring Aesthetic Sound Values in Indonesian Children's Poetry: A Descriptive Analysis of Phonetic Artistry Mulyono, Tri; Nuryatin, Agus; Sayuti, Suminto A; Rustono, Rustono
The Journal of Educational Development Vol 10 No 1 (2022): June 2022
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jed.v10i1.13812

Abstract

The research delved into the aesthetic values of sound in Indonesian children's poetry, focusing on phonetic features such as alliteration, assonance, anaphora, epistrophe, and rhyme. Utilizing a descriptive qualitative analysis, the research scrutinized 50 children’s poems from diverse sources to uncover the roles these sound elements play in enhancing the poetic experience. Findings revealed that these phonetic strategies significantly contribute to the rhythm and musicality of children's poetry, thereby engaging young readers and enriching their literary appreciation. Conclusively, the study underscores the importance of sound aesthetics in children’s poetry and suggests incorporating these elements into educational curriculums to cultivate a deeper appreciation for poetic forms. This research enriches literary studies by highlighting the utility of phonetic aesthetics in children's literature, thereby bridging a gap in existing literary analysis.
Co-Authors A’am Khunaefi, A’am Adennia Thaffana Adianto, Irham Husna Afriyanti, Rinna Agus Pujianto Ahmad Mubarok Mubarok Ahmad Nur Cahyo Ahmad Sunardi Ahmad Sunardi Ahmad Syaifudin Aini, Irmayanti Nur Alda Marsya Ayudia Alfi Khoiru An Nisa Ali Azizi, Fakhri Alifiya Habiba, Sri Penny Alimatussa’diyah, Alimatussa’diyah Amalia Fajriyyatin Najichah Amir Mahmud Andi Sulfana Masri Andri Yulianto Andriani, Eva Kristian Anwar Sutoyo Arifiyanto, Fajar Arini, Dessy Rizqi Ariyanto, Dodi Arumda, Larasaji Narindri Bambang Indiatmoko Bambang Widiatmoko Bambang Widiatmoko Burhanudin, Muhamad Cahyo, Ahmad Nur Choirina, Risma Choirina Christiani, Resistia Friska Deby Luriawati Dede Indra Wahyu Nugroho Dhoni Zustiyantoro Dian Nuzulia Armariena, Dian Nuzulia Dwi Desi Fajarsari Dwi Desi Fajarsari Dwi Wahyu Candra Dewi Ekasari, Anisa Diyah Ella, Seylla Arifeni Endah Dyah Wardani Evi Chamalah Evi Chamalah Fadli, Bagus Muhamad Farah Failasufa Faridah Eriyaningsih Faridhatun Nikmah Fathur Rohman Fathur Rohman, Fathur Fathur Rokhman Fitriana, Henika Hari Bakti Mardikantoro Hariyadi Hariyadi Haryadi - Haryadi Haryadi Hasan Bastomi Hasan Busro, Ahmad Hasyim, Suhaedah Hehanussa, St Naisa HERAWATI, LILIK Herman J. Waluyo Hidayah, Isnaini Rahmah Hikmah, Mamluatul Husniyatul Adibah Alwaliyah Ida Zulaeha Ida Zulaeha Ida Zulaeha Ilman Elfikri, Zidnie Inayati, Tatik Indra Putra Pahlewi, Indra Putra irmaningsih, karni dwi Ismuwardani, Zakiyah Istiqomah, Elly Astika Khunaefi, A’am Kurniawati, Nike Esti Kusumawati, Dita Ayu Leli Nisfi Setiana Leli Nisfi Setiana Leni Salindri Lestari, Arum Yulia lilik Herawati Liya Yuliyani Luh Made Indah Sri Handari Adiputra Lusiana Agustina Main Sufanti Maria Ulfa, Titin Marwan, Rafli Masfufah, Elisa Raudlatul Maulida Laily Kusuma Wati Mei Fita Asri Untari Meina Febriani Meina Febriani Mimi Mulyani Muayah, Bindarin Mubarok, Ahmad Mubarok MUCHAMMAD FAIZIN Muh Doyin Muhamad Haryanto Muhamad Yahya Mauliddin Mukh Doyin Mukh Doyin Mukh Doyin Mukh. Doyin Mukh. Doyin Mukh. Doyin Muliawan, Pondra Mulyaningsih, Indrya Mulyono . Mulyono Mulyono Mulyono Mulyono Muttaqin, Nufi Azam Naryatmojo, Deby Luriawati Nas Haryati Setyaningsih Nas Haryati Setyaningsih Nas Haryati Setyaningsih Nasib Nur, Wahyu Azam Nurdian Susilowati Nurhannah Widianti Nurhannah Widianti Nurul Lailatul Aini Oktafiyani, Ayu Oktafiyani, Ayu Pebri Dwi Lesmono Nugroho Prabaningrum, Dyah Prasetyo Utomo, S. Prasetyo Utomo, S. Pratama, Galih Suci Pristiwati , Rahayu Purbiyanti, Elis Dwi Putri Indah Wahyuningsih Qurrota Ayu Neina R M Teguh Supriyanto Rahayu Pristiwati RM Teguh Supriyanto Rustono - Rustono, Mr Sahidun, Achmat Sahidun, Achmat Seylla Arifeni Seylla Arifeni Ella Sonya Trikandi Sri Kartini SUAIDAH SUAIDAH, SUAIDAH Subyantoro Sugiyanti Pratiwi Sari Sugiyo Sugiyo Sumartini Sumartini Suminto A. Sayuti Supratman, Suparmin Dandan Suryadi, Riza Suseno Suseno Suseno Suseno Suwito, Wagiran Suyitno Suyitno Syarifa, Lu’ul Lailatis Syavica, Cindy Gea Tato Nuryanto, Tato Teguh Supriyanto Titi Wuryani Tommi Yuniawan Tri Jayanti, Tri Tri Joko Raharjo Tri Mulyono Turahmat Turahmat, Turahmat Utomo, Tirto Aji U’um Qomariyah Vio Amandini Afriliana Vio Amandini Afriliana Wagiran Wagiran Wahyu Azam Nur Wahyuni, Janetri Suti Wahyuningsih, Putri Indah Waluyo, Herman J. Wasino Wasino Widianti, Nurhannah Widianti, Nurhannah Widiyastuti, Tri Wuryani, Titi Yuliannurunnisa, Wahyutia Yuliarti Yuliarti Yuniarti Yuniarti Yusro Edi Nugroho Yusro Edy Nugroho Yusro Edy Nugroho Zi Xuan, Alvin Teo Zuhra Sl. Datu Zulfa Fahmy Zuliyanti, Zuliyanti Zustiyantoro, Dhoni