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Rohanda Rohanda

UIN Sunan Gunung Djati

Author-ID : 3830366

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Prosodic and Rhyme Patterns in Hafiz Ibrahim’s Poem "Ila Shadaqihi Muhammad ‘Abdihi Al-Babiliy Bika Yu’atibuhu": A Study of Neo-Classical Arabic Poem Ilva Nurlatifah; Rohanda Rohanda; Muhammad Abdul Halim
Indonesian Journal of Arabic Studies Vol. 7 No. 1 (2025)
Publisher : UIN Siber Syekh Nurjati Cirebon, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24235/ijas.v7i1.18323

Purpose—This study aims to analyze the prosodic and rhyme patterns in Hafiz Ibrahim’s poem "Ila Shadaqihi Muhammad ‘Abdihi Al-Babiliy Bika Yu’atibuhu," a representative work of the neoclassical school in Arabic poetry. The focus is on how traditional Arabic metrics and rhyme schemes are preserved and function within a modern emotional context. Design/methods/approach— The study employs a descriptive-analytic method and applies the theoretical framework of ‘Arudl (Arabic prosody) and Qawafi (rhyme theory). The analysis focuses on identifying metrical feet, rhythmic variations, and rhyme consistency throughout the poem. Findings— The findings indicate that the poem utilizes bahar khafif with modifications such as zihaf khabn and ‘illat tasy’its, reflecting a structured yet expressive rhythm. The rhyme scheme follows the pattern of qafiyah muthlaqah mardufah wa maushulah bi mad, ending consistently with the letter mīm, thus forming a qaṣīdah mīmiyyah. These features showcase Hafiz Ibrahim’s fidelity to classical form while conveying deeply personal sentiments. Research Implications— This study highlights the continued relevance and adaptability of classical prosody in modern Arabic poetry. It contributes to Arabic literary criticism by providing a stylistic reading of Neo-classical poetry that bridges traditional structure with modern expression.

Hybrid Spirituality in Paulo Coelho’s Novel Al-Khīmiyāī: A Study of Lucien Goldmann’s Genetic Structuralism Sarah Khairunnisa Arifin; Rohanda; Mawardi
INTERACTION: Jurnal Pendidikan Bahasa Vol. 13 No. 1 (2026): INTERACTION: Jurnal Pendidikan Bahasa
Publisher : Program Studi Pendidikan Bahasa Inggris, Universitas Pendidikan Muhammadiyah Sorong

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36232/interactionjournal.v13i1.5584

The objective of this research is to reveal how hybrid spirituality is constructed in Paulo Coelho’s novel Al-Khīmiyā’ī using Lucien Goldmann’s Genetic Structuralism. This study employs a qualitative descriptive method. Data were collected by identifying textual units, including narratives and dialogues, that represent the interaction between Western and Eastern values. The analysis was conducted by connecting the internal structure of the story with the broader social context of the author to reach a comprehensive understanding of the text. The results indicate that the protagonist, Santiago, successfully harmonizes individual agency (the West) with spiritual surrender or maktub (the East). Paulo Coelho is identified as a representation of the collective subject of modern society seeking common ground amidst the spiritual crisis of the global era. This research concludes that the novel offers a Hybrid Spirituality as a solution to value contradictions between cultures, affirming the role of literature as a bridge for global harmony.

Representasi Rasionalitas, Individualitas, dan Reformasi Hukum dalam Novel Perempuan di Titik Nol Karya Nawal El-Saadawi: Kajian Feminisme Liberal Mary Wollstonecraft: The Representation of Rationality, Individuality, and Legal Reform in the Novel Perempuan di Titik Nol by Nawal El-Saadawi: A Liberal Feminist Study of Mary Wollstonecraft Naufal Ahmad Al Irsyad; Rohanda Rohanda; Ridho Hidayat
Jurnal Bastra (Bahasa dan Sastra) Vol. 11 No. 3 (2026): JURNAL BASTRA EDISI JULI 2026
Publisher : Program Studi Pendidikan Bahasa dan Sastra Indonesia, FKIP, Universitas Halu Oleo Kampus Bumi Tridharma Andounohu Kendari, Provinsi Sulawesi Tenggara – Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36709/bastra.v11i3.2779

Penelitian ini bertujuan untuk mengidentifikasi dan menganalisis perjuangan perempuan melawan otoritas patriarki dalam novel Perempuan di Titik Nol melalui perspektif feminisme liberal klasik Mary Wollstonecraft. Penelitian ini menggunakan metode deskriptif analisis kualitatif dengan pendekatan analisis isi. Objek formal penelitian adalah konsep perjuangan perempuan dalam kajian feminisme liberal, sedangkan objek materialnya berupa wacana tekstual dalam novel. Lingkup penelitian difokuskan pada representasi rasionalitas, individualitas, dan tuntutan reformasi hukum sebagai bentuk perlawanan terhadap sistem patriarki. Hasil penelitian menunjukkan terdapat wacana yang merepresentasikan perjuangan kebebasan perempuan melalui tiga kecenderungan utama. Pertama, rasionalitas tercermin dalam pemikiran kritis tokoh perempuan terhadap identitas gender dan ketidakadilan sosial. Kedua, individualitas tampak melalui upaya memperoleh otonomi diri, integritas jasmani, dan kemandirian ekonomi dengan menolak peran domestik yang subordinatif. Ketiga, tuntutan reformasi hukum mengungkap diskriminasi struktural dalam pendidikan, politik, dan hukum perkawinan yang menegaskan pentingnya perubahan sistemik. Kesimpulan penelitian ini menegaskan bahwa karya sastra berfungsi sebagai media kritik sosial terhadap dominasi patriarki serta memperlihatkan bahwa perjuangan perempuan memerlukan kemandirian intelektual dan ekonomi sebagai dasar perlawanan yang efektif.

MENDEKONSTRUKSI MITOS ANAK JALANAN DALAM FILM CAPERNAUM KARYA NADINE LABAKI (KAJIAN SEMIOTIKA ROLAND BARTHES) Shofwatul Maulidah Ridwan; Rohanda Rohanda; Muhammad Abdul Halim
Ihya al-Arabiyah: Jurnal Pendidikan Bahasa dan Sastra Arab Vol 12, No 1 (2026)
Publisher : Universitas Islam Negeri Sumatera Utara Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30821/ihya.v12i1.28433

This study aims to analyze how the representation of street children and social conditions are constructed as mythical signs in Nadine Labaki's film Capernaum. Employing a qualitative approach with Roland Barthes' semiotic method, this research examines signs at three levels: denotation, connotation, and myth. The results show that the representation of street children, embodied by the character Zain, is shaped through visuals of poverty, neglect, and violence, which at the connotative level signify street children as victims of social structures. This process naturalizes the myth that street children are symbols of the failure of the state and society to protect children's rights. In addition, social conditions such as poverty, injustice, and child neglect are constructed as mythical signs through visual repetition, realistic narratives, and representations of absent state institutions. The film Capernaum ultimately constructs a myth about structural injustice that is considered a “natural” condition in marginalized communities. This study emphasizes that film is not only a medium of entertainment, but also an arena for the production of meaning that is capable of constructing social reality through the mechanism of signs.

KALAM INSYA’I THALABI DALAM SYI’R FALSAFAH AL-HAYAH KARYA ELIA ABU MADI: PENDEKATAN ILMU MA’ANI Zayyin Helmi Holil; Rohanda Rohanda; Khomisah Khomisah
Ihya al-Arabiyah: Jurnal Pendidikan Bahasa dan Sastra Arab Vol 12, No 1 (2026)
Publisher : Universitas Islam Negeri Sumatera Utara Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30821/ihya.v12i1.29474

This study examines the use of Kalam Insya’i Thalabi in the poem Falsafah al-Hayah by Elia Abu Madi through the perspective of Ilm al-Ma‘ani within the field of Arabic rhetoric (balaghah). The objective of this research is to identify the types of Talabi Insha’i, analyze the structural forms employed, and explore the rhetorical purposes underlying their use, as well as to explain their role in conveying the philosophical values of life presented in the poem. This study employs a descriptive qualitative method with a distributional analysis technique. The data consist of poetic lines containing talabi insha’i structures, which are collected through careful and repeated readings, then identified, classified, and analyzed based on their forms and rhetorical functions.The findings reveal that the main types of Talabi Insha’i found in the poem include amr, nahi, istifham, and nida’, with amr being the most dominant form, while tamanni is not found. Each structure does not merely function as a literal demand but also carries various rhetorical purposes, such as al-irshad, al-inkar, al-zajr, al-nafy and al-iltimas. These findings indicate a close relationship between linguistic form and the philosophical messages conveyed by the poet, particularly in promoting optimism, self-awareness, and acceptance of life’s realities. Therefore, Talabi Insha’i plays a significant role in strengthening meaning, enhancing persuasive effect, and shaping the reflective character of the poem

REPRESENTASI BULLYING DALAM FILM JAROS INDZAR KARYA KHALID FAHAD (KAJIAN SEMIOTIKA CHARLES SANDERS PEIRCE) Dzifriya Qatrun Nada; Akmaliyah Akmaliyah; Rohanda Rohanda
Ihya al-Arabiyah: Jurnal Pendidikan Bahasa dan Sastra Arab Vol 12, No 1 (2026)
Publisher : Universitas Islam Negeri Sumatera Utara Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30821/ihya.v12i1.28668

The school environment should ideally be a safe space for children to learn and develop social relationships. However, in reality, schools often become sites where bullying occurs, as represented in the short film Jaros Indzar by Khalid Fahad. This study aims to analyze the representation of bullying in the short film Jaros Indzar using Charles Sanders Peirce’s semiotic approach. The research employs a descriptive qualitative method with Peircean semiotic analysis, focusing on the triadic relationship between sign, object, and interpretant. The findings indicate that Jaros Indzar represents various forms of bullying, including non-verbal, verbal, and psychological bullying. At the level of sign, five scenes were identified as representing non-verbal bullying, such as pushing, locking someone in, talking behind someone’s back, taking belongings, and making offensive gestures. At the level of object, five scenes represent verbal bullying in the form of insulting, threatening, blaming, cornering, and mocking. Meanwhile, at the level of interpretant, six scenes represent psychological bullying, including cynical stares, mocking laughter, sarcastic smiles, intimidation, and acts of instilling fear.This study demonstrates that Jaros Indzar presents a complex representation of bullying through visual and narrative signs, making the film a reflective and educational medium for understanding the impacts of bullying in the school environment.

Representasi Nilai Karakter dan Kehidupan Sosial Perempuan Arab Saudi dalam Film from The Ashes Yosep Fatahudin; rohanda rohanda; khomisah khomisah
Dzil Majaz: Journal of Arabic Literature Vol. 4 No. 1 (2026)
Publisher : Sekolah Tinggi Agama Islam Darul Ulum Banyuanyar, Pamekasan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58223/dzilmajaz.v4i1.877

This study aims to analyze the representation of character education values and the social dynamics of Saudi Arabian women in the film From the Ashes through Charles Sanders Peirce’s semiotic approach. The study is motivated by the limited number of semiotic studies examining the representation of Saudi women in contemporary Middle Eastern cinema, particularly those connecting cinematic signs with character education and social transformation within educational settings. Previous studies have primarily focused on cultural and feminist perspectives, leaving the relationship between symbols, social meanings, and women’s identity transformation insufficiently explored. This research employs a descriptive qualitative method using Peirce’s semiotic framework by identifying icons, indexes, and symbols embedded in scenes, dialogues, character expressions, costumes, and social settings portrayed in the film. Data were collected through direct observation of the film available on Netflix and analyzed based on the relationship between sign, object, and interpretant. The findings reveal that the film represents character education values through symbols of moral courage, responsibility, female solidarity, and critical attitudes toward social pressures within educational environments. Furthermore, the film portrays Saudi women as negotiating between patriarchal traditions and modernity, reflected in school spaces, institutional regulations, social interactions, and visual depictions of social control. The novelty of this study lies in its semiotic interpretation of Saudi women’s representation through the lens of character education and social change. This research contributes to expanding film semiotics studies by highlighting the role of cinema as a medium for constructing social meaning and reflecting cultural transformation in contemporary Arab society.

Propaganda by Deed and the Destruction of Authority in Ahlam Alnisa' Alharem: An Goldman's Anarcho-Feminist Reading Rendi Muhammad Fauzi; Rohanda Rohanda; Khomisah Khomisah
Journal of Education, Humaniora and Social Sciences (JEHSS) Vol 8, No 4 (2026): Journal of Education, Humaniora and Social Sciences (JEHSS), Mei 2026
Publisher : Mahesa Research Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34007/jehss.v8i4.3099

This study examines the forms of women's resistance against patriarchal structures in Fatima Mernissi's novel, Ahlam Alnisa' Alharem. In contrast to previous liberal feminist approaches that generally emphasize negotiation and systemic reform, this research employs Emma Goldman's Anarcho-Feminist perspective to analyze direct and confrontational resistance strategies. Utilizing a descriptive-analytical qualitative method, the present study draws upon two primary concepts: Propaganda by Deed and The Destruction of Authority. The findings indicate that the female characters within the Harem articulate their autonomy through direct action, the assertion of bodily rights, and civil disobedience, rather than mere compliance. Furthermore, these acts aim to deconstruct three intersecting forms of authority conceptually referred to as the "trinity of oppression," which encompasses the manipulation of religious tradition, state repression represented by territorial boundaries (hudud), and social class hierarchies. The culmination of this resistance is the liberation of women from internalized patriarchal control, identified within the narrative as the "internal tyrant". In conclusion, emancipation within this text is realized through the dismantling of both structural confinement (the physical spaces of the Harem) and psychological subjugation.

Women, Signs, and Struggles in Norah: A Semiotic Exploration of Tawfik Al-Zaidy’s Film Rika Rahmawati; Rohanda Rohanda; Asep Supianudin
Al-Irfan : Journal of Arabic Literature and Islamic Studies Vol. 9 No. 1 (2026)
Publisher : Sekolah Tinggi Agama Islam Darul Ulum Banyuanyar Pamekasan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58223/al-irfan.v9i1.671

This study examines the representation of women’s struggle in the film Norah directed by Saudi Arabian filmmaker Tawfik Al-Zaidi using Charles Sanders Peirce’s semiotic approach. The research addresses two main problems, namely the forms of women’s struggle and the meanings of those struggles as represented in the film. This study aims to identify the forms of women’s struggle and to interpret their meanings through a semiotic perspective. This research employs a descriptive qualitative method using visual and verbal data obtained from selected scenes in the film. The analysis is conducted by applying Peirce’s triadic model, which consists of representamen, object, and interpretant, to understand the process of meaning-making in the representation of women’s struggle. The results show that the main character’s struggles are categorized into three forms: social, economic, and existential struggles. These struggles are reflected in the character’s efforts to confront social norms and pressures, to seek recognition and independence, and to understand as well as assert her identity as an individual. Overall, women’s struggle in this film is interpreted as a gradual process, starting from awareness of limitations, developing into the courage to resist, and eventually leading to self-acceptance and recognition. This study contributes to the discourse on women’s representation in Arab cinema, particularly in understanding women’s struggles within Middle Eastern cultural contexts, and reinforces the application of Peirce’s semiotic theory in film analysis as a medium of social and cultural representation.

Co-Authors Abdul Jabbar Mukhtar Abdul Kodir Abdul Kodir Abdul Kodir Abdul Kodir Abdurahman, Rizki Acep Hermawan, Acep Ade Sopiah adhia nugraha Adriadi, Irfan Adya Wijaya, Naufal Aeni Lukviati Urbah Afrina Achmad Agni Nidaulhasanah Agnia, Ariel Husni Ahmad Arif Septian Ahmad Qonit Ad. Ahmad Suhaili Ahmad Yunani Aida Zakiyah Munawaroh Aizza, Yulia Zulpathul Akmaliyah Akmaliyah Akmaliyah Akmaliyah Al Maliki, Sayid Muhamad Al-Rafi’i, Mushthafa Shadiq Aladdin, Ashinida Alandira, Palendika Alawi, Zamzam Mugni Alawiyah, Siti Hilmiatul Alfina Hartono Putri Allisya Rizky Islami Alwi Salam Alwi, Zulfami Aminuloh, Diki Anggraini, Reza Anna Miftahul Khasanah Anneu Rosyanti Suryana Aqila Fikriya Hamidah Arianty, Monika Wulan Aripin, Amalul Aryanto, Redi Asep Saefullah Asep Supianudin Atha, Yusuf Ali Shaleh Atoasi, Syahbudin Audryane Anindita Fadilla Azahirah Mufidah Azmi, M Ulul Azzahra, Rachma Aini Bintang Helmi Putra budi, Firmansah Setia Budi Budiharjo, Imam Ghozali Cahya Mahesa, Dzikri Cahyadi, Indrawan Choirunisa, Wanda Dadan Mardani Dayudin, Dayudin Dede Burhanudin, Dede Dede Sasa Nurjaman Deden Hidayat Dedi Supriadi Dendi Yuda S Dendi Yuda S. Dian Nurrachman Dian Nurrachman Dian Nurrachman, Dian Dika, Palen Dikriyah Dini Fathiya Nur Shiyam Dira, Palen Dika Dwiki Kusuma Dyo Rusna Dzifriya Qatrun Nada Dzikri Ahmad Fauzi Fadhli Hafizh Fadilla, Audryane Anindita Fadlil Yani Ainusyamsi Fajri, M Nurul Fariztina, Alissa Fauziah, Resa Nurrahmah Febriana, Putri Salma Firdaus, Rifqi Muhammad Gia Ramadhan Habibah Haekal Maulana Zaki Halim, M Abdul Halim, M. Abdul Halim, Muhammad Abdul Hamidah, Aqila Fikriya Hanifah Annisa Salsabila Hannawi, Izzat Fathin Haq, Iman Amirul Hartono, Alfina Hasbi Assiddiqi Hasna Afifah Yustiana Yunasa Hazim, Hana Heriady, Rifqi Zahran Azizi Hezam, Motea Naji Dabwan Hidayat, Deden Hikmah Maulani Hilmi, Irpan Hopi Silviani Ihin Solihin Ilva Nurlatifah Imam Ghozali Budiharjo Imas Fatimah Setiawati Irdan Hildansyah Irfan Addriadi Irfan Adriadi Isma Fauziah Isma Fauziah Ispa Ahwatul Muslimah Istiana Khotibatunnisa Julaeha, Puput Ratna Karima, Marista Aulia Khoirunisa, Retno Nindya Khomisah Khomisah Khomisah Khomisah Kodir, Abdul - Komaruddin Komarudin Lathifah, Haifa Latifah, Vina Lilian Andriana M Abdul Halim M. Fauzan Afsar Mahmud Mahmud Maila Nurul Izzati Maman Abdul Djaliel Mardi, Isra Marista Aulia Karima Masmedia Pinem Maura, Indah Natisha Mawardi Mawardi Mawardi Mawardi Meisyaroh, Fitria Monika Wulan Arianty Mu'izzuddin, Moch Muchammad Naufal Fauqi Adhiya Muhamad Faiz Al Fauzi Muhamad Robi Muhammad Abdul Halim Muhammad Abdul Halim Muhammad Abdul Halim Muhammad Aceng Tata Muhammad Darda Diyaulhaq Muhammad Haritsah Rais Muhammad Nurhasan Muhammad Syafiq Ziyad MULYADI Mutmainah Juniawati Nafilatul Azza, Nawal Najwa Rifaron Naufal Ahmad Al Irsyad Nining Maida Nisa, Shofie Yanti Khoerun Novianti, Wulan Suci Nur Amalia Muthmainah Nurahman Majid Nuraida, Rezky Latifah Nurfadilah Nurfadilah Nurhalida, Nunung Nurhasan, Muhamad Nurhasan, Muhammad Nurhasanah, Aviah Nuri Rai Patimah Nurjaman, Andri Nurlatifah, Ilva Nurlinah Nurlinah Nurlinah Nurlinah, Nurlinah Nuryadi, Bagja Ghali Nuryana, Muhamad Rian Nushrotun Nida Ovi Siti Nuropikoh Palendika Alandira Pauji, Resa Restu Permana, Insan Priyawan, Pepen Putri Aulia Tauziah Putri Budikurnia Istiqomah Qimanullah, Abdul Malik R. Edi Komarudin R. Edi Komarudin R. Edi `Komarudin Raden Mohamad Herdian Bhakti Rahmah, Sofia Laila Ramadhan, Gia Ramdhani, Diyan Rifky Ratu Anti Salimah Rendi Muhammad Fauzi Resa Nurrahmah Fauziah Resa Restu Pauji Resa Restu Pauji Ridho Hidayat Ridho Hidayat Ridho Hidayat Rifa Mazin Aqillah Rifqi Muhammad Firdaus Rika Rahmawati Rika Rahmawati Robiaah Al Adawiyyah, Annisa Siti Rohanda Rohanda, Rohanda Rohmani, Hadad Ropik Irpani Rosalita, Rosalita Rudini Ruhendi, Ateng Ruly Syaeful Azhar Rusna, Dyo Sabarudin, Ikbal Sabrina, Coriena Halwa Saepuloh, Amanda Siva Safitri, Shofika Naila Saidah, Siti Saidatul Fitriah Lailatul Badriah Saladin, Cundarojat Sidiq Salma febriana, Putri Salma, Inas Salsabila, Nisrina Zahrani Salsabillah, Ade Inas Santika, R. Gilang Sarah Khairunnisa Arifin Selva Allaya Navika Septian, Ahmad Arif Setiawan, Shafira Nandya Setiawati, Imas Fatimah Shafirayanti, Marwa Shofwatul Maulidah Ridwan Sidiq, Apip Ansurullah Siti Latifah Siti Muslikah Sofia Laila Rahmah Suci Novianti, Wulan Sukmawati, Wati Solihat Sulthan Zainul Amin Supardi, Adi Suparna, Ahmad Supianudin, Asep Sutisna, Dede Syafei, Isop Syahbudin Syahril Jamil Syahril Jamil, Syahril Syairazi, Yasril Ahmad Syarah Salsabila Syasi, Mohamad Talia Salma Najihah Tamam, Asep M. Taufiq, Wildan Thaifur Rayya Difadrana Tri Cahyanto Tri Cahyanto Usep Abdul Matin, Usep Abdul Wanda Choirunisa Wanda Choirunisa Wildan Rinanda Komara Wulan Suci Novianti Yadi Mardiansyah Yadi Mardiyansyah Yasmin, Alia Yayan Rahtikawati Yosep Fatahudin Yulianti Yuliarti Mutiarsih Yunita, Novi Yusanti, Noviana Yuyun Rohmatul Uyuni Zamzam Mugni Alawi Zayyin Helmi Holil Zulfahmi Alwi

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