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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 J-REaLL 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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PORTRAYAL OF A WITCH AS HEROINETHROUGH MALEFICENT CHARACTER IN MALEFICENT MOVIE (2014) Farnush, Jemi; Sili, Surya; Ariani, Setya
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

ANALYSIS OF DEIXIS IN PITCH PERFECT 2 MOVIE Ainiyah, Kholifatul; Sili, Surya; Ariani, Setya
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.

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

MASCULINITY IN THE CHARACTER OF MARGO ROTH SPIEGELMAN IN PAPER TOWNS NOVEL Lestari, Silvya Wana; Sili, Surya; Ariani, Setya
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 Students’ Perception on the Implementation of Computational Thinking in Maritime English Reading Comprehension Puji Astuti Amalia; Fabiola Bulimasena Luturmas; Sektalonir Oscarini Wati Bhakti; Andri Kurniawan; Setya Ariani; Rizky Sulvika Pusparinda
Poltanesa Vol 26 No 1 (2025): June 2025
Publisher : P3KM Politeknik Pertanian Negeri Samarinda

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51967/tanesa.v26i1.3287

The implementation of Computational Thinking (CT) in language instruction has drawn interest due to its potential in improving students' analytical and problem-solving abilities. However, its uses in specific fields, such Maritime English especially in reading comprehension, is still not well established. This study is a qualitative study that aims to explore how students perceive the use of CT in Maritime English reading instruction. 31 Students from a maritime higher education institution participated in semi-structured interviews. The result indicates that students view CT as a useful technique for enhancing reading comprehension and engagement. Moreover, the perception is divided into abstraction, algorithm, decomposition, evaluation and pattern recognition. In terms of abstraction, students claim that they can ignore irrelevant information and pick relevant information. In terms of algorithm, students believe that they can apply strategies in reading to make a better comprehension such as underline keywords. In terms of decomposition, students feel confident in breaking down long and complex sentences to find the meaning. In terms of evaluation, students can evaluate the information in the text. In terms of pattern recognition, students are aware of common pattern/sentence structure and organization in the text. The study emphasizes the value of contextualized CT education and offers suggestions for integrating CT into Maritime English learning reading instruction. The finding of this study offers potential instructional strategies for maritime education.

Psychopath analysis of the Oliver Quick character from Saltburn (2023) film Panjaitan, Silvani Eka Putri; Ariani, Setya
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Vol 10, No 1 (2026): Januari 2026
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v10i1.21606

The Saltburn (2023) film directed by Emerald Fennell presents an intriguing example of a psychopathic character through its main protagonist, Oliver Quick. At first, Oliver appears as an ordinary scholarship student, but as the story unfolds, his dark personality and manipulative behaviour begin to show. This research aims to analyse the psychopathic characteristics of Oliver Quick using Verstappen’s psychopath theory and Sigmund Freud’s psychoanalysis, including the tripartite model (id, ego, and superego). The research used a qualitative method to analyse the data and draw the conclusion. The data were collected from actions and dialogues in the film. Each psychopathic trait that has been collected was analysed using Freud’s theory by mapping them into id, ego and superego. The results show that Oliver possesses seven key traits of a psychopath: lack of empathy, lack of remorse, superficiality, impulsivity, irresponsibility, compulsive lying, and manipulativeness. These traits are closely connected to Freud’s concept of the id and ego. However, there are no evidence of the superego’s role in Oliver's character, indicating a lack of moral conscience. This research utilized a combination of two psychological frameworks, which are psychopathy and psychoanalysis, to deeply understand a literary character’s behaviour. This research also shows how psychological theory can be applied to literature and film, helping readers and future researchers better recognise and analyse psychopathic behaviour in fictional characters.

Students’ voices on ChatGPT: A pilot study on academic writing enhancement Ariani, Setya; Rachmawaty, Noor; Amalia, Puji Astuti
Journal of Research on English and Language Learning (J-REaLL) Vol. 7 No. 1 (2026): Journal of Research on English and Language Learning (J-REaLL)
Publisher : Universitas Islam Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33474/j-reall.v7i1.24665

ChatGPT is regarded as a beneficial resource for learning, as it offers feedback and support throughout the academic writing process. The current literature primarily focuses on the benefits and drawbacks of ChatGPT, with a relatively minor emphasis on the students’ actual experiences in the local higher education setting. This paper is written to explore students’ experiences, perceptions, and reflections in relation to their use of ChatGPT for improving academic writing performance. A pilot study was conducted using an online open-response questionnaire distributed to the second-semester students enrolled in the academic writing course in the English Literature Study Program. A total of thirty-two students were identified as the target group for participation; however, only fourteen were able to fully complete the questionnaire. The students responded to the questionnaire items addressing the integration of ChatGPT in academic writing, writing quality and confidence, students' beliefs and concerns about ChatGPT, as well as the difficulties they face concerning plagiarism. The findings indicated that students did not frequently use ChatGPT for writing assistance. In addition, the themes emerged from students’ responses included the development of ideas, the provision of feedback, the autonomy of writers, grammar, vocabulary, sentence construction, structuring of paragraph and essay, awareness of the limitations of ChatGPT, and the maintenance of academic integrity. Understanding students’ voices on ChatGPT can help educators in making informed decisions on the use of AI tools in academic writing instruction. A limited sample size is more susceptible to bias, and therefore future studies should involve larger samples employing a variety of research designs.

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

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