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All Journal CaLLs : Journal of Culture, Arts, Literature, and Linguistics Emerging Science Journal Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya JURNAL BAHASA, SASTRA DAN PEMBELAJARANNYA Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya Sorai: Jurnal Pengkajian dan Penciptaan Musik Puitika Loa : Jurnal Ketatabahasaan dan Kesusastraan Borneo Educational Journal (Borju) Journal of Education Research Media Bina Ilmiah Pelita: Jurnal Pengabdian kepada Masyarakat Jurnal Penelitian Multidisiplin Bangsa Prosiding Seminar Nasional Sastra, Bahasa, dan Seni (Sesanti) Ruhui Rahayu: Jurnal Pengabdian Kepada Masyarakat

Arifin, M Bahri

Fakultas Ilmu Budaya Universitas Mulawarman

Author-ID : 3793088

Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics 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.

THE STRATEGIES OF NEGATIVE AND POSITIVE POLITENESS USED BY BRAD’S UTTERANCES IN FRONT OF THE CLASS MOVIE Ayu Susana; M. Bahri Arifin; Ririn Setyowati
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.v6i1.5254

ABSTRACTPoliteness plays an important role in keeping a conversation run well. However, there are still some difficulties in playing polite and proper language for communication. Considering these phenomena, a study of politeness strategy was conducted. In this research, the researcher analyzed the use of politeness strategies especially positive and negative politeness in Front of the Class movie. The purposes of this research were to find out the kinds of positive politeness strategies, negative politeness strategies, and factors influencing Brad Cohen in using positive and negative politeness strategies in the movie. The research method in this research was descriptive qualitative research, the theory of politeness strategies by Brown and Levinson (1987) was used to analyze the four two of politeness strategy. The result of this research showed that there were twenty-seven utterances represented two politeness strategies used by Brad Cohen in Front of the class movie. Twenty-one utterances represented a positive politeness strategy and six utterances represented a negative politeness strategy. In positive politeness strategy 6: avoid disagreement and strategy 11: be optimistic are strategies that many researchers find in the film. Meanwhile, in negative politeness, they are only 2 strategy that the researcher found in the movie they are strategy 3: be pessimistic and strategy 5: give deference which both had the same amount of data. There are 2 factors influencing the choice of politeness strategies used by Brad Cohen in Front of the class movie. They are payoff and the circumstances. Twenty-seven utterances categorized as politeness strategies, twenty-one of them belong to positive politeness strategy, so that positive politeness strategy is the most dominantly used by Brad Cohen in Front of the class movie.Keyword: Negative Politeness, Positive Politeness, Factor Influence, Front of the class movie ABSTRAKKesopanan memainkan peran penting agar percakapan tetap berjalan dengan baik. Namun demikian, masih terdapat beberapa kesulitan dalam memainkan bahasa yang sopan dan pantas untuk komunikasi. Melihat fenomena tersebut, maka dilakukan studi tentang strategi kesantunan. Dalam penelitian ini, peneliti menganalisis penggunaan strategi kesantunan khususnya kesopanan positif dan negatif dalam film Front of the class. Tujuan dari penelitian ini adalah untuk mengetahui macam-macam strategi kesantunan positif, strategi kesantunan negatif, dan faktor-faktor yang mempengaruhi Brad Cohen dalam menggunakan strategi kesantunan positif dan negatif dalam film tersebut. Metode penelitian dalam penelitian ini adalah penelitian kualitatif deskriptif, teori strategi kesantunan oleh Brown dan Levinson (1987) digunakan untuk menganalisis dua jenis strategi kesantunan. Hasil penelitian menunjukkan bahwa terdapat dua puluh tujuh ujaran yang merupakan dua strategi kesantunan yang digunakan oleh Brad Cohen di film Front of the class. dua puluh satu ucapan mewakili strategi kesantunan positif dan enam ucapan mewakili strategi kesopanan negative. Dalam kesantunan positif, strategi 6: hindari ketidaksepakatan dan strategi 11: optimis adalah strategi yang banyak ditemukan peneliti dalam film tersebut. Sedangkan dalam kesantunan negatif, hanya ada 2 strategi yang peneliti temukan dalam film tersebut yaitu strategi 3: pesimis dan strategi 5: memberi hormat yang keduanya memiliki jumlah data yang sama. Ada 2 faktor yang mempengaruhi pemilihan strategi kesantunan yang digunakan oleh Brad Cohen dalam film Front Class. Mereka adalah imbalan dan keadaannya. Dua puluh tujuh ujaran dikategorikan sebagai strategi kesantunan, dua puluh satu diantaranya termasuk dalam strategi kesantunan positif, sehingga strategi kesantunan positif paling dominan digunakan oleh Brad Cohen dalam film Front of Class.Keyword: Kesopanan negatif, kesopanan positif, factor yang mempengaruhi, film Front of the Class

PEMALI DALAM MASYARAKAT ETNIK BANJAR DI KOTA SAMARINDA: SUATU TINJAUAN SEMIOTIKA Annisa Akhlak; M. Bahri Arifin; Syamsul Rijal
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 3, No 2 (2019): April 2019
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Penelitian ini membahas tentang makna pemali dalam masyarakat etnik Banjar yang berada di Kota Samarinda. Adapun tujuan dari penelitian ini ialah untuk mengetahui pemali apa saja yang dilaksanakan dan tidak dilaksanakan oleh masyarakat etnik Banjar dan menentukan makna terkandung di dalam budaya pemali masyarakat etnik Banjar.Penelitian ini menggunakan pendekatan kualitatif dengan metode deskriptif dan termasuk dalam jenis penelitian lapangan. Data penelitian ini berupa budaya pemali yang diperoleh dari observasi dengan informan yang mengetahui dan masih melaksanakan budaya pemali yang berada di kota Samarinda. Data dikumpulkan dengan metode wawancara, rekam dan catat. Data dianalisis dengan teknik reduksi data, transkrip data, dan penyajian data.Hasil dari penelitian ini berupa temuan makna pemali dengan menggunakan teori semiotika yang dilihat dari makna denotatif atau pemaknaan tingkat satu yaitu makna sebenarnya atau sesuai dengan kamus, konotatif atau pemaknaan tingkat dua yaitu merupakan bentuk akibat yang menjadi tanda, serta akan menjadi mitos yang sekaligus menjadi simbol budaya Banjar. Penelitian ini mengumpulkan lima puluh pemali yang terbagi menjadi dua yaitu, pemali yang tidak dilaksanakan dan pemali yang dilaksanakan. This study discussed the meanings of pamali in Banjar ethnic living in Samarinda City. It aimed to find out the types of pamali performed and not performed by the Banjar ethnic community and to determine the meanings contained in the pamali according to the culture of Banjar ethnic society. This study applied a qualitative approach with the descriptive method and it was categorized as a field study. The data of this research were in the forms of pamali culture obtained from the informants who understood and still performed the pamali culture existing in Samarinda City. The data were collected through interview, recording, and note-taking. The data were analyzed by using data reduction, data transcription, and data display. The findings of this study were in the forms of pamali with their meanings by using a semiotic theory which was seen from their denotative meanings or the first level of meaning analysis, namely the real meaning or the meaning according to the dictionary. Their connotative meaning of the second level of meaning analysis was the effects which were in the forms of signs, and they would become myths and symbols of Banjar culture. This study collected 50 pamali which were divided into two types, the pamali which were not performed and those which were performed.

BUDAYA PEMALI DALAM MASYARAKAT ETNIK TORAJA DI KOTA SAMARINDA: SUATU TINJAUAN SEMIOTIKA Risna Dwi Astuti; M. Bahri Arifin; Syamsul Rijal
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.v4i4.2850

Pemali merupakan salah satu bentuk tradisi lisan yang digunakan sebagai bentuk larangan paling halus dan sopan. Salah satu masyarakat yang masih mengamalkan pemali adalah masyarakat etnik Toraja. Penelitian ini membahas tentang makna tanda semiotika pemali yang ada dalam masyarakat etnik Toraja. Penelitian ini bertujuan untuk (1) mengetahui pemali apa saja yang ada pada masyarakat etnik Toraja di Kota Samarinda; (2) mendeskripsikan makna yang terkandung pada pemali masyarakat etnik Toraja di Kota Samarinda. Penelitian ini termasuk penelitian lapangan menggunakan pendekatan kualitatif dengan model pemerian deskriptif. Data penelitian ini berupa teks pemali yang diketahui dan dilaksanakan oleh masyarakat etnik Toraja di Kota Samarinda, sedangkan sumber data dalam penelitian ini, yaitu informan dari masyarakat etnik Toraja yang menetap di Kota Samarinda. Pengumpulan data dilakukan dengan teknik wawancara, perekaman dan pencatatan. Kemudian, data dianalisis dengan menggunakan teori semiotika Roland Barthes yang melihat tanda dalam dua tingkat pemaknaan, yaitu pemaknaan tingkat satu (denotasi) dan pemaknaan tingkat dua (konotasi). Hasil penelitian ini menunjukkan bahwa makna tanda pada tingkat pemaknaan kedua menjelma menjadi mitos. Dari 47 rumusan pemali yang diketahui dan dilaksanakan oleh masyarakat etnik Toraja di Kota Samarinda terdapat 5 pemali yang berkaitan dengan kesehatan, 6 pemali yang berkaitan dengan dengan keselamatan, 3 pemali berkaitan dengan rezeki dan 1 pemali berkaitan dengan jodoh.

THE STUDY OF SLANG UTTERANCES IN BRICK MOVIE Daynikita Merisabel; M. Bahri Arifin; Nita Maya Valiantien
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 4, No 2 (2020): April 2020
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

This study discussed about slang utterances found in the movie entitled Brick directed by Rian Johnson. It is interesting to conduct slang research on Brick movie since it is a unique neo-noir movie which portrays teenager’s life that speak in an invented slang in the ‘20s, ’30s, and ‘40s. By using descriptive qualitative method, the purpose of the study is to identify the types of slang appeared in the conversation and to observe the context behind the slang used in Brick movie. The slang data is analyzed based on the types of American Slang theory by Chapman (1988) and by Partridge (1933). To support the analysis of context, the writers used the Ethnography of Speaking by Hymes (1974). Regarding to the research findings, the writers identified that there are three types of slang used by the seven characters in Brick movie script, namely: student slang, primary slang and secondary slang. The most frequently type of slang is secondary slang with total of 12 data. Furthermore, the meaning of each slang utterances is not only based on dictionaries but also based on the context of situation, such as setting, participants, ends, act, key, instrumentalities, norms, and genre. In conclusion, this study showed that there are many aspects of slang which can be analyzed more deeply into several other branches of linguistics, such as sociolinguistic, pragmatic and semantic.

African American Vernacular English in Shrek Movie Devi Indah Anggreeni; M. Bahri Arifin; Ririn Setyowati
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 2, No 2 (2018): Edisi April 2018
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Abstract Language is influenced by social differences that appear in society, such as age, gender, religion, power, economic status, and ethnicity. Those social factors produce different kinds of language which is called as variety. Ethnicity as one of the social factors influences the emergence of variety that comes from African American people who lives in United States of America. The variety is called as African American Vernacular English (AAVE). AAVE is often used in literary works to represent African American ethnicity as occurred in Shrek movie through the character of Donkey.This research focused on analyzing the grammatical characteristics of Donkey’s AAVE utterances and the factors underlying them through descriptive qualitative research. The result of this research showed that Donkey’s AAVE utterances have three AAVE’s grammatical features which are verb phrase, negation, and nominal and all four factors which consist of social class, gender, age, and linguistic environment underlying those grammatical characteristics. AAVE grammatical characteristics that appeared in Donkey’s utterances are Copula/Auxiliary Absence, Invariant be, Subject-Verb-Agreement, Other Verb Phrase Structure, ain’t, multiple negation, ain’t with but, and second person plural y’all. Those grammatical characteristics are influenced by Donkey’s working class status, his male gender, teenage age, and his mood when the utterances were taking place whether he was comfortable or not. AAVE grammatical characteristics indicate that Donkey’s character represents African American ethnicity through his utterances and the factors underlying them show that Donkey’s variety is influenced by the social factors that appear in society.Key words: Language, Sociolinguistics, Ethnicity, AAVE, Shrek Movie AbstrakBahasa dipengaruhi oleh perbedaan sosial yang timbul di masyarakat, seperti umur, gender, agama, kekuasaan, status ekonomi, dan etnis. Faktor-faktor sosial tersebut menghasilkan berbagai tipe dari bahasa yang disebut dengan variasi. Etnis sebagai salah satu sosial faktor tersebut mempengaruhi kemunculan sebuah variasi yang berasal dari orang Afrika Amerika yang tinggal di Amerika. Variasi tersebut dinamakan bahasa Inggris Vernakular Afrika Amerika atau AAVE dalam istilah bahasa Inggris. AAVE sering digunakan di karya sastra untuk merepresentasikan etnis Afrika Amerika seperti yang terjadi di film Shrek melalui karakter Donkey.Penelitian ini berfokus pada analisa karakteristik gramatikal dari ujaran AAVE oleh Donkey dan faktor yang mempengaruhi melalui penelitian kualitatif deskriptif. Hasil dari penelitian ini menunjukkan bahwa ujaran AAVE Donkey terdiri dari tiga fitur gramatikal, yaitu frasa kata kerja, negasi, dan nominal, dan keempat faktor yang mempengaruhinya, yaitu kelas sosial, gender, umur, dan lingkungan linguistik. Karakteristik gramatikal yang muncul pada ujaran Donkey adalah Ketiadaan Copula/Auxiliary, Invariant be, Subjek-Predikat-Object, Frasa Kata Kerja yang Lain, ain’t, negasi ganda, ain’t dengan but, dan orang kedua jamak y’all. Karakteristik gramatikal tersebut dipengaruhi oleh kelas sosial Donkey yang adalah kelas bawah, gender laki-lakinya, umur remaja, dan suasana hatinya apakah dia merasa nyaman atau tidak ketika sedang berdialog. Karakteristik gramatikal AAVE dalam ujaran Donkey mengindikasikan bahwa karakter Donkey merepresentasikan etnis Afrika Amerika melalui ujarannya dan faktor yang mendasarinya menunjukkan bahwa variasi bahasa Donkey dipengaruhi oleh faktor sosial yang muncul dalam masyarakat. Kata kunci: Bahasa, Sosiolinguistik, Etnis, AAVE, Film Shrek

SPEECH DISORDER OF STUTTERING CHARACTER IN "ROCKET SCIENCE" MOVIE Mayang Hima Sari; M. Bahri Arifin; Ririn Setyowati
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.v4i3.2992

AbstractStuttering is a speech disorder in which repetition and prolongation of syllables, sound, and phrase interfere with fluency. Someone who experiences stuttering will have a hard time to start the word because of disruption in repetition, vocals and articulation involve the throat, palate, tongue, lips, and teeth. Stuttering may be worse when the person is excited, tired or under stress, or when feeling self-conscious, hurried or pressured. A situation such as speaking in front of a group or talking to the phone can be particularly difficult for people who stutter. As a reflection of real life, a movie can also contain the phenomena of stuttering such as in Rocket Science movies. This research aimed to describe the types of stuttering and also the consequences of being stuttering in social life that experienced by Hal Hefner in Rocket Science movies. This research was conducted by using content analysis qualitative method. The data were generated from movie and movie script in the form of utterances, dialogues, words, and conversations. The result of this research shows that there are ninety-five data which are indicated as the types of stuttering experienced by Hal Hefner in Rocket Science movie. Besides, it was also found the consequences of being stuttering in social life experienced by Hal Hefner in the movie. The researcher shows that there are twelve data of consequences that the researcher found in the movie. The most common consequence that the researcher found in the film is fear to talk. AbstrakGagap adalah gangguan berbicara yang mana terjadinya pengulangan dan perpanjangan suku kata, suara, dan frasa yang dapat menganggu kefasihan. Seseorang yang mengalami gagap akan mengalami kesulitan untuk memulai kata karena gangguan dalam pengulangan, vokal, dan artikulasi yang melibatkan tenggorokan, langit-langit mulut, lidah bibir, dan gigi. Gagap akan lebih buruk ketika bersemangat, lelah atau dibawah tekanan, atau ketika merasa sadar diri, tergesa-gesa atau tertekan. Situasi ketika berbicara didepan kelompok atau berbicara di telepon dapat menjadi sangat sulit bagi orang yag gagap. Sebagai cerminan dari dunia nyata, sebuah film juga mengandung fenomena kegagapan seperti dalam film Rocket Science. Penelitian ini bertujuan untuk mengidentifikasi jenis gagap dan juga konsekuensi dari kegagapan dalam kehidupan sosial yang dialami oleh Hal Hefner dalam film Rocket Science. Penelitian ini dilakukan dengan menggunakan analisis isi kualitatif. Data dihasilkan dari skrip film dan film dalam bentuk ucapan, dialog, kata-kata dan percakapan. Hasil penelitian ini menunjukan bahwa ada Sembilan puluh lima data yang diidentifikasi sebagai jenis gagap yang dialami oleh Hal Hefner dalam film Rocket Science. Selain itu, ditemukan juga konsekuensi kegagapan dalam kehidupan sosial yang dialami Hal Hefner dalam film tersebut. Peneliti menunjukkan bahwa ada dua belas data dari konsekuensi yang ditemukan oleh peneliti di dalam film. Konsekuensi yang paling banyak ditemukan dalam film tersebut adalah takut untuk berbicara.

TANDA DALAM PEMALI YANG DILAKSANAKAN MASYARAKAT ETNIK MANDAR DI KOTA SAMARINDA PROVINSI KALIMANTAN TIMUR: TINJAUAN SEMIOTIKA CHARLES SANDERS PEIRCE Amiruddin Amiruddin; M. Bahri Arifin; Syamsul Rijal
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 3, No 4 (2019): Oktober 2019
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Pemali ialah hal-hal yang dilarang atau sesuatu yang tidak boleh dilakukan, baik dalam bentuk ucapan maupun perbuatan. Setiap etnik di Indonesia memiliki pemali yang diterapkan di setiap kegiatan sebagai wujud kearifan dalam memaknai dan menyikapi kehidupan. Ikatan aturan tersebut lama-kelamaan melekat dalam diri setiap masyarakat sehingga meski tidak berada di daerah asal, aturan tersebut tetap diterapkan. Salah satu etnik di Indonesia yang masih menerapkan pemali meski telah melakukan migrasi, yaitu etnik Mandar. Penelitian ini bertujuan untuk mengetahui pemali-pemali yang masih dilaksanakan dan menjelaskan makna tanda dalam pemali masyarakat etnik Mandar. Penelitian ini termasuk penelitian lapangan dengan pendekatan kualitatif yang dipaparkan secara deskriptif. Data penelitian ini, yaitu pemali yang disampaikan dan diterapkan oleh masyarakat etnik Mandar. Adapun sumber data adalah masyarakat etnik Mandar yang telah mendiami dan menjadi penduduk di Kota Samarinda Provinsi Kalimantan Timur. Teknik pengumpulan data yang digunakan, yaitu teknik wawancara yang dikombinasikan dengan teknik rekam dan catat. Teknik analisis data yang digunakan, yaitu teknik analisis interaktif. Hasil penelitian menunjukkan bahwa setiap pemali terdapat tanda-tanda yang memiliki makna berbeda-beda sesuai dengan keyakinan, tradisi, dan lingkungan masyarakat etnik Mandar. Makna tanda-tanda tersebut memiliki fungsi untuk memberikan pelajaran tentang kesehatan, sopan santun, kebersihan, keselamatan, keagamaan, keberkahan hidup, rasa syukur, hidup sosial, dan kesejahteraan keluarga. Pemali are things that are prohibited or something that should not be done, both in the form of speech and deeds. Every ethnic group in Indonesia has a leader who is applied in every activity as a form of wisdom in interpreting and responding to life. These rules are gradually embedded in every society so that even though they are not in their home areas, the rules are still applied. One of the ethnic groups in Indonesia who still applies pemali despite migrating, namely ethnic Mandar. This study aims to find out the diggers who are still being carried out and explain the meaning of the signs in the Mandali ethnic community pemali. This study included field research with a qualitative approach that was described descriptively. The data of this study, namely the pemali delivered and applied by the ethnic Mandar community. The data sources are ethnic Mandar people who have inhabited and become residents in Samarinda City, East Kalimantan Province. Data collection techniques used, namely interview techniques combined with recording and recording techniques. The data analysis technique used is interactive analysis techniques. The results of the study show that each pemali there are signs that have different meanings according to the beliefs, traditions and environment of the Mandar ethnic community. The meaning of these signs has a function to provide lessons on health, courtesy, cleanliness, safety, religion, life blessings, gratitude, social life, and family welfare.

ILLOCUTIONARY ACT IN GUARDIAN OF THE GALAXY MOVIE (2014) Fahrul Rozi; M. Bahri Arifin; Nasrullah Nasrullah
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.v5i4.5021

The aims of this research are to identify the illocutionary act that performed by Peter Quill and his team that are Gamora, Drax, and Rocket, and also to analyze the context of situation of those illocutionary acts. This research used speech act theory which is the illocutionary act. This research used qualitative research as the design and used content analysis. The data of this research were dialogue, conversation, and statement from the guardian of the galaxy movie. This research has two data sources which is the guardian of the galaxy movie (2014), and the script of film itself. The data of this research have been analyzed uses the illocutionary act. The result of this research found that there are the illocutionary act that has been performed by Peter and his team namely; declarative, assertive, expressive, directives, and commissive. Also from those illocutionary acts which identified by the researcher, it performed with the context of a situation which are setting (s), participant (p), ends (e), act sequence (a), key (k), instrumentalities (i), norms (n), genre (g).

GENDER LANGUAGE USED BY MAIN CHARACTERS IN HIDDEN FIGURES FILM Siti Seliyanti Aneira Husain; M. Bahri Arifin; Indah Sari Lubis
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 6, No 2 (2022): April 2022
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v6i2.5428

ABSTRACT Language is a primary need in society and makes it really could not apart from every people and has become a part of our life. The study that is having a relationship between language and society is sociolinguistics. Sociolinguistics is a branch of linguistics that focuses on the study of language in society. Sociolinguistics covers many topics such as language and gender. Gender can be seen with how men and women play a role and act in society depends on their social and cultural provision and how they are raised to use language will affect how they behave. Gender language appears in many literary works, and one of them is Hidden Figures film. Hidden Figures film contains men and women’s language features and there are also the evidences that gender language exists in that film. This research focused on analyzing the features of gender language and the characteristics in gender language through descriptive qualitative research. The result of this research showed that there were eight women’s language features found and six men’s language features found by the researcher in Hidden Figures film. The researcher found women’s language features in Katherine’s utterance, those features are lexical hedges, tag question, rising intonation on declaratives, empty adjectives, intensifiers, superpolite forms, avoidance of strong swear words and emphatic stress. Then for men’s language features, it is found that there were six men’s language features in Al Harrison’s utterance, those features are minimal responses, hedges, question, command and directives, swearing and taboo language and compliments. In addition, the researcher also performed best characterizing in gender language in Hidden Figures film based on how many features appeared in two characters.Keywords: language and gender, men’s language, women’s language ABSTRAK Bahasa merupakan kebutuhan primer dalam masyarakat dan benar-benar tidak bisa lepas dari setiap orang karena telah menjadi bagian dari kehidupan kita. Kajian yang ada hubungannya antara bahasa dan masyarakat adalah sosiolinguistik. Sosiolinguistik adalah salah satu cabang ilmu linguistik yang berfokus pada kajian bahasa dalam masyarakat. Sosiolinguistik mencakup banyak topik seperti bahasa dan gender. Gender dapat dilihat dari bagaimana laki-laki dan perempuan berperan dan bertindak dalam masyarakat sesuai dengan ketetapan sosial dan budaya mereka, dan bagaimana mereka dibesarkan untuk berbahasa akan mempengaruhi bagaimana mereka berperilaku. Bahasa gender muncul dalam banyak karya sastra, salah satunya adalah film Hidden Figures. Film Hidden Figures memuat fitur-fitur bahasa laki-laki dan perempuan dan juga terdapat bukti bahwa bahasa gender ada dalam film tersebut. Penelitian ini fokus pada analisis fitur bahasa gender dan karakteristik bahasa gender melalui penelitian kualitatif deskriptif. Hasil penelitian menunjukkan bahwa terdapat delapan fitur bahasa wanita dan enam fitur bahasa laki-laki yang ditemukan oleh peneliti dalam film Hidden Figures. Peneliti menemukan fitur bahasa wanita dalam ucapan Katherine, fitur-fitur tersebut adalah hedge (terkungkung / terbatasi), menggunakan tag question, menaikkan intonasi dalam pernyataan, menggunakan empty adjectives, menggunakan intensifiers, menggunakan ragam bahasa yang (sangat) sopan, menghindari kata-kata makian, menggunakan penekanan empatik. Kemudian untuk fitur-fitur bahasa laki-laki, ditemukan enam fitur bahasa laki-laki dalam ucapan Al Harrison, fitur-fitur tersebut adalah respon minimal, hedge (terkungkung/ terbatasi), pertanyaan, perintah dan arahan, bahasa makian dan tabu dan pujian. Sebagai tambahan, peneliti juga menampilkan karakterisasi mana yang paling cocok dalam bahasa gender difilm bahasa gender berdasarkan banyaknya fitur yang muncul pada dua karakterKata kunci: Bahasa dan Gender, Bahasa Perempuan, Bahasa Laki-laki.

Co-Authors Aan Komariah Abd. Rahman Abdul Basir Alfiansyah, Riska Amelia Ali Kusno Ali Kusno Amiruddin Amiruddin Annisa Akhlak Aprazaq, Fikri Yassaar Aprilia, Anissa Dwi Apriliani, Putri Salsabilah Aprillia Miftaqul Wijiningtias Arif Mazhuri Saputro Aryzona, Chandika Asnan Hefni Asnan Hefni Ayu Susana Azainil Azainil Azkiya, Ziyan Bibit Suhatmady Candra, Sutiwi Indriani Chris Asanti Chris Asanti, Chris Daynikita Merisabel DESI NATALIA, DESI Devi Indah Anggreeni Diding Nurdin, Diding Ester Noertjahjo Fahmi Shifa' Ushudur Fahrul Rozi Famala Eka Sanhadi R. Fatimah M. Febri Rhamadani, Siti Natasya Febrimadani, Rendis Fransiska Yuanita Gevorg T. Malashenko Gina Anggraeni Hajrah, Siti Hasyim, Sayid Ferhat Hutapea, Maria C. L. Ian Wahyuni Ibrahim, Zulfah Indah Sari Lubis Indah Sari Lubis Indah Sari Lubis, Indah Sari Inna N. Rykova Irhana, Amalia Jaya, Ferry Fitra Jonathan Irene Sartika Dewi Max Kenedi Wahyu Saputra Lestari, Della Amelya Indah Lili Abdullah Rozak M., Fatimah Macshury, Ajeng Irma Maharani Saskia Puteri Maria Teodora Ping, Maria Teodora Mayang Hima Sari Meydli Dwiayu Garaga Mikhail E. Kosov Mirawati Mirawati Mohammad Siddik Munthe, Presly Rosalina Mursalim Mursalim Mursalim Mursalim Nainggolan, Filipus Nainggolan, Olleta Vichi Narsela Adung Nasrullah Nasrullah Nasrullah Nasrullah Nisyah, Khairun Nita Maya Valiantien Novi Syahfitri Nurmala, Devi Nurul Hamidah, Nurul Olesya V. Dudnik Olga A. Grishina Pasande, Priskila Ekawati Anggana Pratiwi Sudirman, Eka Purwanti Rachman, Khairur Rahayu, Famala Eka Sanhadi Rahayu, Fita Nur Rahman , Andika Rajja Rajja Rakhmad Syarif Rimadhani, Novia Rizky Ririn Setyowati Ririn Setyowati Risna Dwi Astuti Rizkiyah, Muthiatur Rujina, Rujina Saferi Yohana Samperinding, Timorinda Setya Ariani Singgih Daru Kuncara Siti Seliyanti Aneira Husain Solikhin, Nurul Hadi Solly Aryza Subli, Ach Sudirman, Khairul Sumantri, Wilis Haryo Sumual, Merciana S. Syaiful Arifin Syamsiar, Syamsiar Syamsul Rijal Syamsul Rijal Tawakal, Alamsyah Tombang, Nopita Ulandari, Tri Vadim V. Ponkratov Vitaloca, Izzah Wahyudi, Rino Tri Wahyuni, Ian Wahyuni, Mery Wasis Sirutama Widya Atillah Widyatmike Gede Mulawarman Wijaya, Angga Rinaldy Wilma Prafitri Winnugroho Wiratman, Manfaluthy Hakim, Tiara Aninditha, Aru W. Sudoyo, Joedo Prihartono Winora, Anisa Wulandari, Fevi Yahya, Masrur Yansyah, Heri Yofi Irvan Vivian Yofi Irvan Vivian, Yofi Irvan Yudista, Rensiana Yulinda Ari Wardani Yuni Kartika, Yuni Yusriansyah, Eka

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