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All Journal CaLLs : Journal of Culture, Arts, Literature, and Linguistics Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya Proceedings of ISELT FBS Universitas Negeri Padang Buletin Poltanesa Journal of English as a Foreign Language Teaching and Research (JEFLTR) ANDIL Mulawarman Journal of Community Engagement Prosiding Seminar Nasional Sastra, Bahasa, dan Seni (Sesanti) Ruhui Rahayu: Jurnal Pengabdian Kepada Masyarakat

Setya Ariani

Universitas Mulawarman

Author-ID : 3793071

Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Education Environmental Science Languange, Linguistic, Communication & Media Public Health Social Sciences Other

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AN ANALYSIS OF PRESUPPOSITION ON BRAD COHEN’S CHARACTER IN FRONT OF THE CLASS MOVIE Kenedi Wahyu Saputra; M. Bahri Arifin; Setya Ariani
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 5, No 4 (2021): Oktober 2021
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v5i4.5063

The objectives of this research were to describe the types of presupposition used by the main character in Front of the Class movie and identify the meanings of utterances containing presupposition used by main character in Front of the Class movie. Yule‟s theory of presupposition is used by the researcher to answer the formulated research questions. This research was a qualitative study applying descriptive-qualitative method. The subject of this research is a movie entitled Front of the Class directed by Peter Werner. The data were some scenes including the utterances said by speaker and heard by hearer. The data analysis was conducted by identifying and classifying the data to find the inferences. The findings of the research are as follows: in Front of the Class movie, all Yule‟s six types of presupposition are found. Those are; existential presupposition, factive presupposition, non-factive presupposition, lexical presupposition, structural presupposition and counterfactual presupposition. The meanings of utterances containing presupposition used by main character in Front of the Class movie are gained by analyzing the context because in pragmatic study, context is essential to figure out the implied meaning. The context of the Brad Cohen's utterances in Front of the Class movie is gained through three factors. They are; the participants, the context of situation and the shared knowledge.

MASCULINITY IN THE CHARACTER OF MARGO ROTH SPIEGELMAN IN PAPER TOWNS NOVEL Silvya Wana Lestari; Surya Sili; Setya Ariani
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 2, No 1 (2018): Edisi Januari 2018
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

ABSTRACT Woman and her position toward man in society are always interesting to be discussed. Woman is now labeled by femininity for years and often be associated with several characteristics such as gentle, caring, loving and inferior from man because of the gender stereotype formed by society. By this research, the researcher aimed to analyze the masculine traits of the female character, Margo Roth Spiegelman in Paper Towns novel. This research was a qualitative research and used content analysis as the data analysis technique. This research used Sandra L Bem’s Sex Role Inventory as the indicator of masculinity in Margo’s character in Paper Towns novel. The result of this research showed that Margo has masculine traits even though she is a woman and they appeared through three aspects of her character: physical, emotional, and behavioral. Keywords: gender, gender stereotypes, masculinity, Paper Towns novel ABSTRAK Wanita dan posisinya terhadap pria di masyarakat selalu menjadi topik menarik untuk dibahas. Wanita saat ini lekat dengan label kewanitaan yang telah melekat selama bertahun-tahun dan sering dikaitkan dengan beberapa karakteristik khusus seperti lembut, perhatian, penyayang dan lebih rendah daripada pria dikarenakan stereotip yang melekat di masyarakat berdasarkan gender. Dalam penelitian ini, peneliti bermaksud untuk menganalisis sifat maskulin yang ada pada karakter wanita pada novel Paper Towns yaitu Margo Roth Spiegelman. Penelitian ini merupakan penelitian kualitatif dan menggunakan teknik konten analisis sebagai teknik analisis data. Penelitian ini menggunakan teori dari Sandra L. Bem, Sex Role Inventory sebagai indikator dari sifat-sifat maskulin pada karakter Margo di novel Paper Towns. Hasil penelitian menunjukkan bahwa Margo memiliki sifat-sifat maskulin meskipun ia terlahir sebagai wanita dan sifat-sifat tersebut muncul melalui tiga aspek yaitu secara fisik, secara emosi, dan secara tingkah laku. Kata kunci: gender, stereotip gender, maskulinitas, novel Paper Towns

THE MONSTER’S CHARACTERISTICS IN FRANKENSTEIN NOVEL BY MARY SHELLEY VIEWED FROM PERSONALITY TRAITS THEORY Agustina Agustina; Anjar Dwi Astuti; Setya Ariani
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 4, No 1 (2020): Januari 2020
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

This study aimed to analyze the character and characterization of monster in Frankenstein through theory of characterization by Boggs and Petrie. It was classified into characterization through appearance, action, dialogue, reactions of other characters, and choice of name of the character. The characteristics of monster were classified into the Big Five Theory by McCrae and Costa. They were openness, conscientiousness, agreeableness, extraversion, and neuroticism. The used of the theory aimed to reveal the personality of monster that had similarities with human personality. To know what the character and characterization of monster, the researcher applied descriptive-qualitative method. The result showed that monster had a terrible appearance. Through the dialogue, he was an ambitious creature. Through the action he was very interest in new things. The other characters felt frightened to see his horrible appearance. The monster was called ‘monster’ because of his terrible appearance. Based on the Big Five, monster was classified into conscientiousness because of his ambition. He was an agreeableness because of his kindness. He was classified into openness because he interested in new things. He was also categorized into neuroticism because he was very vengeful. The last type of the Big Five named extraversion was not found in this study because he was not a sociable creature. Thus, the monster who looked very terrible had many positiveness rather than the negative characteristics.

THE ILLOCUTIONARY ACTS PRODUCED BY PETER QUILL CHARACTER IN THE GUARDIANS OF THE GALAXY MOVIE BY JAMES GUNN Natalius Paelongan; M. Natsir; Setya Ariani
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 3, No 1 (2019): Januari 2019
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

ABSTRACT This research aimed to find out the types and functions of illocutionary acts produced by Peter Quill as the main character in Guardians of the Galaxy movie. The design of this research was descriptive qualitative. The researcher collected the data from Peter Quill’s dialogues and analyzed them by using Miles’ and Huberman’s interactive model source as the process of data analysis. The findings showed that there were four types of illocutionary acts found in Peter Quill’s utterances along with its functions: representatives (informing, notifying, reminding and asserting), directives (asking, requesting, telling, suggesting, ordering, forbidding, advising, and commanding), commissives (refusing and promising) and expressives (complimenting and complaining). Keywords: pragmatic, speech act, illocutionary acts ABSTRAK Penelitian ini bertujuan untuk menemukan tipe-tipe dan fungsi-fungsi dari tindak tutur ilokusi yang terdapat pada karakter utama film Guardians of the Galaxy, yaitu Peter Quill.Bentuk penelitian ini termasuk dalam penelitian kualitatif deskripsi. Penulis mengumpulkan data-data yang diperlukan dalam penelitian ini dari dialog-dialog Peter Quill dan menganalisisnya dengan menggunakan proses analisis data dari Miles dan Huberman, interactive model source. Hasil penelitian ini menunjukkan bahwa terdapat empat jenis ilokusi milik Searle yang digunakan oleh karakter Peter Quill dalam semua ujarannya beserta fungsi masing-masing dari tipe-tipe ilokusi tersebut: representative (dalam ungkapan menginformasi, memberitahu, mengingatkan, dan menegaskan), directives (dalam ungkapan bertanya, meminta, menceritakan, menyarankan, meminta untuk melakukan sesuatu, melarang, memberi nasihat, dan memberi perintah), commissives (dalam ungkapan menolak dan berjanji), dan expressives (dalam ungkapan memberikan pujian dan mengeluh). Kata Kunci: pragmatik, tindak tutur, bentuk-bentuk ilokusi

PORTRAYAL OF A WITCH AS HEROINETHROUGH MALEFICENT CHARACTER IN MALEFICENT MOVIE (2014) Jemi Farnush; Surya Sili; Setya Ariani
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 2, No 4 (2018): Oktober 2018
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

ABSTRACT Maleficent movie (2014) a movie directed by Robert Stromberg and written by Linda Woolverton. This movie adapted from Sleeping Beauty animation version in 1959. Maleficent movie tells about the human Kingdom and the Moors Kingdom that have never be peace. This research focused on analyzing a portrayal of a witch as heroine through Maleficent character. The purposes of this research were to analyze kind of witch characteristics portrayed through Maleficent character in Maleficent movie, and to analyze Maleficent character portrayed as a heroine in Maleficent movie. This research was a qualitative research. This research used two theories. The first is witch theory by Julian Goodare and the second one is hero theory by Kendra Cherry. The results of the research showed, that Maleficent character in Maleficent movie (2014) evil and good side. There are four concepts of witch such as demonic, village, folkloric, and envisioned witch. Maleficent movie goes into the folkloric witch category. There are seventh elements of hero, which Maleficent character as a heroine in Maleficent movie. First, people who become heroes tend to be concerned with the well being of others. Second, heroes are good at seeing from the perspective of others. Third, heroes are competent and confident. Fourth, heroes have a strong moral compass. Fifth, heroes have right skills. Sixth, heroes persist even in the face of fear, and keep working on their goals. The second result showed that Maleficent character is a heroine. Keywords: hero, Maleficent, portrayal, witch ABSTRAK Film Maleficent (2014) adalah sebuah film yang disutradarai oleh Robert Stromberg dan ditulis oleh Linda Woolverton, film ini diadaptasi dari Sleeping Beauty versi animasi pada tahun 1959. Film Maleficent (2014) menceritakan tentang kerajaan Manusia dan kerajaan Moors yang tidak pernah berdamai. Penelitian ini fokus menganalisa penggambaran seorang wanita penyihir sebagai pahlawan melalui karakter Maleficent. Tujuan penelitian ini menganalisa jenis penggambaran karakteristik penyihir melalui karakter Maleficent di dalam film Maleficent. Penelitian ini merupakan penelirian kualitatif. Penelitian ini menggunaka dua teori. Yang pertama teori penyihir oleh Julian Goodare dan yang kedua teori pahlawan oleh Kendra Cheery. Hasil penelitian ini menunjukkan bahwa, yang pertama karakter Maleficent dalam film Maleficent (2014) sebagai seorang penyihir yang mempunyai sisi jahat dan baik. Ada empat konsep penyihir seperti demonic, village, folkloric, dan envisioned. Berdasarkan keempat konsep tersebut, film Maleficent masuk dalam kategori penyihir folkloric. Ada tujuh elemen kepahlawanan, dimana karakter Maleficent sebagai seorang pahlawan didalam film Maleficent (2014). Pertama, orang yang menjadi pahlawan cenderung memperhatikan kesejahteraan orang lain. Kedua, pahlawan pandai melihat sesuatu dari sudut pandang orang lain. Ketiga, pahlawan percaya diri. Keempat, pahlawan memiliki kompas moral yang kuat. Kelima, memiliki keterampilan. Keenam, pahlawan terus menghadapi ketakutan dan yang ketuju, pahlawan terus mengerjakan tujuan mereka, bahkan setelah menghadapi beberapa kemunduran. Kata kunci: pahlawan, Maleficent, penggambaran, penyihir

AN ANALYSIS OF CONVERSATIONAL IMPLICATURES OF THE MAIN CHARACTERS IN LADY BIRD FILM: A PRAGMATIC STUDY Musdalifa Musdalifa; Surya Sili; Setya Ariani
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 6, No 1 (2022): Januari 2022
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v6i1.4314

ABSTRACT Every participant involved in communication process is assumed to be cooperative so that the intentions of verbal activities can be achieved. However, in reality, sending purposes is not always conveyed straightforwardly. In practice, a person may not get to the point of the conversation where s/he is expected to speak honestly, informatively, relevant, and appropriately that are remarkably understood by the interlocutor. In terms of language, this phenomenon is known as the conversational implicature in which participants prefer to imply their extra or hidden meaning that is communicated behind utterances spoken. From that kind of phenomenon, this research aims to examine the phenomenon in the conversation of the two main characters in the Lady Bird film by applying Grice's theory to determine the implicature form and Searle's illocutionary classification theory to determine the function of the implicatures as the main theories and the supporting theory by Hymes for portraying context of conversation which determines the factors that influence communication. This study also uses qualitative method and content analysis approach to process data in the form of dialogue to identify conversation implicatures which are categorized into two, namely generalized conversation implicature and particularized conversation implicature and the function classification in declarative, representative, directive, expressive and commissive form.Key words: cooperative principle, maxims, conversational implicature, illocutionary actsABSTRAK Dalam proses komunikasi, setiap partisipan diasumsikan bersedia untuk bekerja sama sehingga tujuan diadakannya kegiatan tersebut dapat tercapai. Penyampaian tujuan komunikasi pada kenyataannya tak selalu disampaikan secara lugas. Pada penerapannya, seseorang mungkin saja tidak langsung pada inti pembicaraan dimana si pembicara diharapkan untuk berbicara secara jujur, informatif, relevan, dan sesuai topik yang uniknya dapat dipahami dengan baik oleh lawan bicaranya. Dari sisi kebahasaan, fenomena tersebut dikenal dengan istilah implikatur percakapan dimana partisipan lebih memilih mengimplikasikan pesan mereka dengan mempertimbangkan konteks ujaran. Dengan kata lain, terdapat makna tambahan atau tersembunyi yang coba dikomunikasikan dibalik ujaran yang dituturkan. Berangkat dari fenomena itu, penelitian ini dimaksudkan untuk mengkaji fenomena komunikasi tersebut dalam percakapan dua tokoh utama di film Lady Bird dengan menerapkan teori utama dari Grice untuk mengetahui bentuk implikatur dan teori klasifikasi tindak ilokusi dari Searle untuk menentukan fungsi dari bentuk implikatur yang telah diidentifikasi serta teori pendukung dari Hymes untuk menggambarkan konteks ujaran yang menentukan faktor yang mempengaruhi komunikasi. Metode kualitatif dan pendekatan analisis konten diterapkan dalam kajian ini untuk mengolah data yang berupa dialog untuk mengidentifikasi implikatur percakapan yang dikategorikan menjadi dua yaitu implikatur percakapan umum dan implikatur percakapan khusus dan klasifikasi fungsinya yang berupa deklaratif, representatif, direktif, ekspresif dan komisif.Kata kunci: Implikatur percakapan, prinsip kerjasama, maksim, tindak ilokusi

ILLOCUTIONARY ACT OF MIRANDA PRIESTLY CHARACTER IN THE DEVIL WEARS PRADA FILM Indri Ari Markus Wonata; M. Natsir; Setya Ariani
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

ANALYSIS OF DEIXIS IN PITCH PERFECT 2 MOVIE Kholifatul Ainiyah; Surya Sili; Setya Ariani
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 3, No 3 (2019): Juli 2019
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

This study aimed to find out the types of deixis and contexts used by Beca Mitchell character in Pitch Perfect 2 movie. In order to fulfill the two aims, this study used two theories: Levinson’s (1983) five types of deixis were used to find out the types of deixis, while Panevová and Hana’s (2011) four types of context were used to find out the types of context appeared in each utterance of Beca Mitchell character. This study was a qualitative research with content analysis as its approach. Moreover, this study used words as its data in the forms of narrations and dialogues uttered by Beca Mitchell character taken from Pitch Perfect 2 movie script. The results of this study showed there were five types of deixis used by Beca Mitchell character: person deixis (40% of first person, 23% of second person, and 6% of third person), time deixis usage as 12%, place deixis usage as 6% shown in both types: proximal and distal, discourse deixis usage as 6%, and social deixis usage as 7% shown only in the relational type that considered the closeness of relationship between Beca and her hearers. Meanwhile, there were four types of context appeared: physical, linguistic, social, and epistemic. The conclusions showed that Beca Mitchell used Levinson’s five types of deixis along with four types of context by Panevová and Hana to help her getting clearer about things she said in her utterances. As the implications, theoretically, this study was capable of giving the understanding about Levinson’s deixis and Panevová-Hana’s contexts. While practically, this study had shown that film also used deixis as its speech variety similar with the communication done in real world even though the film used in this study, Pitch Perfect 2 movie was a fiction one. Penelitian ini bertujuan untuk menemukan tipe-tipe deiksis dan konteks yang digunakan oleh karakter Beca Mitchell dalam film Pitch Perfect 2. Untuk memenuhi kedua tujuan tersebut, maka penelitian ini menggunakan dua teori: lima tipe deiksis dari Levinson (1983) untuk menemukan tipe-tipe deiksis dan teori empat tipe konteks dari Panevová dan Hana (2011) untuk menemukan tipe-tipe konteks yang ada dalam tiap ujaran deiksis karakter Beca Mitchell. Penelitian ini merupakan penelitian kualitatif dengan pendekatan analisa konten. Lebih lanjut, penelitian ini menggunakan kata-kata sebagai datanya yang berupa narasi-narasi dan dialog-dialog yang diujarkan oleh karakter Beca Mitchell dalam skrip film Pitch Perfect 2. Hasil dari penelitian ini menunjukkan terdapat lima tipe deiksis yang digunakan oleh karakter Beca Mitchell: deiksis orang (40% orang pertama, 23% orang kedua, dan 6% orang ketiga), deiksis waktu sebanyak 12%, deiksis tempat sebanyak 6% dalam dua tipe: proksimal dan distal, deiksis wacana sebanyak 6%, dan deiksis sosial sebanyak 7% yang hanya muncul dalam satu tipe yaitu relasional yang mana melibatkan kedekatan hubungan antara Beca dan para lawan bicaranya. Sementara itu, terdapat empat tipe konteks yang muncul yaitu: fisikal, linguistik, sosial, dan epistemik. Kesimpulan dari penelitian ini menyatakan bahwa Beca Mitchell menggunakan lima tipe deiksis milik Levinson bersamaan dengan empat tipe konteks milik Panevová dan Hana untuk membantunya dalam memberikan ujaran-ujaran yang lebih jelas. Sebagai implikasi dari penelitian ini yaitu secara teori bahwa penelitian ini dapat memberikan pengertian tentang deiksis milik Levinson serta konteks dari Panevová dan Hana. Secara praktik, penelitian ini telah membuktikan bahwa film juga menggunakan deiksis sebagai variasi bentuk ujarannya yang hakikinya juga sama dengan komunikasi yang dilakukan dalam dunia nyata terlepas dari fakta bahwa film yang digunakan dalam penelitian ini, Pitch Perfect 2 merupakan fiksi.

ANALYSIS OF FLOUTING AND VIOLATING TOWARDS MAXIM OF QUALITY IN MY SISTER’S KEEPER NOVEL Ester Noertjahjo; M Bahri Arifin; Setya Ariani
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 1, No 3 (2017): Edisi Juli 2017
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

ABSTRACT The objectives of this research was to find the expression of flouting and violating towards maxim of quality in My Sister’s Keeper novel through major characters’ utterances and also to find the purposes of using flouting and violating toward maxim of quality. This analysis includes to descriptive qualitative method. This researcher used My Sister’s Keeper novel as the source of data. The data derived from the utterances of major characters containing the elements of flouting and violating towards maxim of quality. From the finding of this analysis, the elements of flouting and violating towards maxim of quality were found in major characters’ utterances through five strategies. They are hyperbole strategy, metaphor strategy, irony strategy, banter strategy, and lie strategy. Metaphor strategy was often used by major characters in this novel. It occurred because through metaphor strategy the characters can emphasize the point of talk to express their opinion clearly. From the analysis of five strategies, it found that there are seven purposes of using flouting and violating towards maxim of quality. Key words: Flouting the maxim of quality, violating towards maxim of quality, purpose, My Sister’s Keeper ABSTRAK Tujuan dari penelitian ini adalah menemukan ucapan dari penyimpangan dan pelanggaran terhadap maksim kualitas dalam novel My Sister's Keeper melalui ujaran karakter utama dan juga menemukan tujuan dari penggunaan penyimpangan dan pelanggaran terhadap maksim kualitas. Analisis ini termasuk dalam metode deskriptif kualitatif. Peneliti ini menggunakan novel My Sister's Keeper sebagai sumber data. Data berasal dari ujaran karakter utama yang mengandung unsur-unsur penyimpangan dan pelanggaran terhadap maksim kualitas. Dari analisis ini, unsur-unsur penyimpangan dan pelanggaran terhadap maksim kualitas ditemukan dalam ujaran karakter utama melalui lima strategi. Diantaranya adalah strategi hiperbola, strategi metafora, strategi ironi, strategi banter, dan strategi kebohongan. Strategi metafora sering digunakan oleh tokoh utama dalam novel ini. Itu terjadi karena melalui strategi metafora para tokoh dapat menekankan poin pembicaraan untuk mengekspresikan pendapat mereka dengan jelas. Dari analisis lima strategi tersebut, ditemukan bahwa terdapat tujuh tujuan dalam penggunaan penyimpangan dan pelanggaran terhadap maksim kualitas.Kata kunci: Penyimpangan maksim kualitas, Pelanggaran maksim kualitas, Tujuan, My Sister’s Keeper

ANALYSIS OF EINAR’S NEEDS IN THE DANISH GIRL FILM USING MASLOW’S THEORY Katedral Velty Nila; M. Natsir; Setya Ariani
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 6, No 3 (2022): Juli 2022
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v6i3.6219

The research discusses the main character’s needs in a movie titled The Danish Girl. The Danish Girl tells the story of Einar Wegener, a painter who decided to be transgender after he became a woman model for the painting of his wife, Gerda. He became two different people incorporated in a body. First, he was a talented painter and a great husband. Second, he was Lili Elbe, an elegant woman who was the model of Gerda’s painting. The research aims to find out how Einar met his needs in life using Maslow’s Hierarchy of Needs theory. The research applies a qualitative research method and the findings are presented in descriptively. The research finds that Einer Wegener managed to meet his needs for physiological needs, security, love and belonging, and esteem. The findings reveal that Einar Wegener failed to meet the self-actualization need. The researcher finds that Einar Wegener wanted to complete his transformation to be a woman to secure a happier and more comfortable life. When Einar transformed into Lili following, Einar no longer painted and buried Einar’s biggest talent as a painter. He merely focused to make a total transformation to be Lili following his decision for surgery. At last, he passed away before fulfilling his need to be a real woman. Therefore, it can be concluded Einer failed to meet his self-actualization need.

Co-Authors Agustina Agustina Ahmad, Noor Islamiyah Alamsyah Andi Hikmah, Andi ANDRI KURNIAWAN Anisah Nur Hasanah Anjar Dwi Astuti, Anjar Dwi Anwar Ibrahim Triyoga Aprilia, Anissa Dwi Arifin, M Bahri Atiqah Elfannur Rahmah Bhakti, Sektalonir Oscarini Wati Bungan, Winny Cahyarani, Alya Chris Asanti Chris Asanti, Chris D, Dahri Dyah Sunggingwati Eliyana, Rika Ester Noertjahjo Fachryan, Farhan Fahdilla, Nur Fahmi, Siti Mutiara Farizky, Vicky Fitriani -, Fitriani Fransiska Yuanita Indah Sari Lubis, Indah Sari Indri Ari Markus Wonata Indriani, Dinah Irhana, Amalia Irni Jemi Farnush Jonathan Irene Sartika Dewi Max Kartini, Eva Katedral Velty Nila Kenedi Wahyu Saputra Kholifatul Ainiyah Lina, Ester Luturmas, Fabiola Bulimasena M. Natsir M. Natsir M. Natsir M. Natsir Malikatin Wahyu Prasojowati Masrur Muhajir, Fatimah Muhammad Alim Akbar Nasir Muhammad Natsir Musdalifa Musdalifa Natalius Paelongan Nita Maya Valiantien Noor Rachmawaty Nur Amalia Fhadila Putri Nur Fadilla, Devi Ayu Novia Nur Hidayah Nur, Citra Junia Nurlela Nurlela Nurrahma, Virza Mei Utami Nurul Hamidah, Nurul Nurul Safitri Pratama, Zamrud Whidas Puji Astuti Amalia Purwanti Purwanti Pusparinda, Rizky Sulvika Putra, Aprilian Kurnia Putra, Harli Aprian Rahayu, Famala Rahayu, Famala Eka Sanhadi Rahayu, Fita Nur Ririn Setyowati Ririn Setyowati Sabiela, Nur Laili Samantha, Rey Al Hendaweyah Santoso, Eko Prasetyo Budi Sari, Lia Paramita Sari, Putri Indah Sari, Putri Yunita Sari, Yuli Eka Purnia Sili, Surya Silvya Wana Lestari Singgih Daru Kuncara Sudirman, Eka Pratiwi Surahman, Dian Purnama Surya Sili Surya Sili Surya Sili Surya Sili Syamsudin, Tiara Ananda Tombang, Nopita Tri Winarsih Weningtyas Parama Iswari, Weningtyas Parama Widuri, Dwi Sinta Ayu Winnugroho Wiratman, Manfaluthy Hakim, Tiara Aninditha, Aru W. Sudoyo, Joedo Prihartono Yunita, Ira Alifia Zamruddin, Mardliya Pratiwi Zenita, Rifkia

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