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All Journal Linguistica At-Tajdid : Jurnal Pendidikan dan Pemikiran Islam Budapest International Research and Critics in Linguistics and Education Journal (Birle Journal) Register : Journal of English Language Teaching and Learning of FBS UNIMED Jurnal Riset Rumpun Ilmu Bahasa (JURRIBAH) Jurnal Pendidikan dan Ilmu Sosial Jurnal Sadewa: Publikasi Ilmu Pendidikan, Pembelajaran dan Ilmu Sosial Fonologi: Jurnal Ilmuan Bahasa dan Sastra Inggris Sintaksis: Publikasi Para Ahli Bahasa dan Sastra Inggris Blaze: Jurnal Bahasa dan Sastra dalam Pendidikan Linguistik dan Pengembangan
Meisuri Meisuri
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Religion Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Social Sciences Other

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The Symbolic Meaning of Mangulosi in Batak Toba Traditional Weddings: Roland Barthes' Semiotic Analysis Mhd Agri Amri; Refelina Tabitasari; Endelina Miranda; Devina Sianturi; Ria Valentine Angela Manalu; Meisuri Meisuri
Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris Vol. 4 No. 3 (2026): Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris
Publisher : Asosiasi Periset Bahasa Sastra Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61132/sintaksis.v4i3.2623

Abstract

This study aims to analyze the symbolic meaning of the mangulosi tradition in Toba Batak traditional wedding ceremonies using Roland Barthes’ semiotic theory. This research employs a descriptive qualitative method, with data collected from visual media such as YouTube and TikTok, supported by informants familiar with Toba Batak culture. The findings reveal that meaning in the mangulosi tradition is constructed through three levels of signification: denotation, connotation, and myth. At the denotative level, mangulosi is understood as the act of giving ulos in a wedding ceremony. At the connotative level, ulos and the ritual process convey symbolic meanings such as blessings, protection, harmony, and the strengthening of social and kinship relationships. At the myth level, the tradition reinforces the cultural ideology that marriage is considered legitimate when it receives recognition and blessings from family and customary authorities. Quantitatively, the findings show that artifacts are dominated by visual connotative meanings (40%), while ritual actions emphasize non-verbal (30%) and verbal (20%) meanings. Therefore, the mangulosi tradition is not only a ceremonial practice but also a medium for preserving cultural identity and social values within the Toba Batak community.
Dysphemism as a Language Strategy for Expressing Emotional Intensity in Sabrina Carpenter’s Man’s Best Friend Album Ruth Manurung; Cindy C. Nadeak; Helda H. Hia; Jesika P. Sitorus; Nurjasni Nurjasni; Meisuri Meisuri
Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris Vol. 4 No. 3 (2026): Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris
Publisher : Asosiasi Periset Bahasa Sastra Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61132/sintaksis.v4i3.2628

Abstract

This study examines the use of dysphemistic language in selected songs from Sabrina Carpenter’s Man’s Best Friend album. The research aims to identify the dysphemistic expressions found in the lyrics and to analyze how these expressions are linguistically constructed to convey emotional intensity and communicative meaning. The study applies a qualitative descriptive approach. The data consist of dysphemistic expressions collected from the selected song lyrics and classified according to the dysphemism categories proposed by Keith Allan and Kate Burridge. The analysis focuses on identifying the types of dysphemism and examining their function as a language strategy within the lyrical context. The findings indicate that dysphemistic expressions appear consistently in the lyrics and contribute to the expression of emotional tension and interpersonal conflict. These expressions also function as a stylistic device that shapes the tone and communicative impact of the songs. The study highlights the role of dysphemistic language as part of the expressive and stylistic resources used in contemporary pop music lyrics.
Comparative Analysis of Charlie Chaplin Animations: Safari at The Park and The King in The Ring Using Peirce’s Triadic Theory Nadia Kumari; Melyana Pinem; Riscitta Ogilvie Hubertus Sinaga; Jessica Hotnida Nainggolan; Meisuri Meisuri
Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris Vol. 4 No. 3 (2026): Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris
Publisher : Asosiasi Periset Bahasa Sastra Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61132/sintaksis.v4i3.2651

Abstract

This study analyzes visual signs in the Charlie Chaplin animations Safari at The Park and The King in The Ring using Charles Sanders Peirce’s semiotic framework, focusing on icons, indexes, and symbols. Film and animation communicate meaning through visual elements such as gestures, facial expressions, movements, and character interactions, making them rich for semiotic analysis. Using a descriptive qualitative method, the research identified and categorized visual signs in both animations. Results show that icons, which resemble real-world objects, dominate by establishing story settings natural safari environments in one animation and competitive boxing arenas in the other. Indexes reveal cause-and-effect relationships, demonstrating how gestures, expressions, and actions convey danger, fatigue, or emotional shifts. Symbols convey conventional or cultural meanings, such as Charlie Chaplin’s bowler hat and cane representing his comedic identity, a championship belt symbolizing victory, or a rose indicating affection. While both animations use the same types of signs, the intensity and focus vary with the narrative context: Safari at The Park emphasizes situational and natural elements, whereas The King in The Ring highlights competition and emotional reactions. This study confirms that Peirce’s triadic model effectively explains how meaning is constructed in animation through dynamic visual communication.
Co-Authors Albert Zebua Arina A. Panjaitan Aynen Kresensia Br Sembiring Cindy C. Nadeak Deden Makbulloh Devina Sianturi Efani Margareth Br Ginting Elisabet Sipayung Elisabeth Monica Hutahaean Elyana Manurung Emilya Somia Endelina Miranda Firda Harlidayana Gerardo Ryan Purba Gracya Sibarani Hafiza Saumi Ramadilla Halimah br.Surbakti Helda H. Hia Inayah Safani Jenny D. Manurung Jesika P. Sitorus Jessica Hotnida Nainggolan Juwita Permatasari Lilis Adelika Melyana Pinem Mhd Agri Amri Mutia Syarliza Nst Nabilah Siti Haniyah Nadia Kumari Nael Simarmata Nijmal Adawiyah Nisa Angelina Agustin Silitonga Njue Steeven Tarigan Nur Hafni Fatimah Nur zakia Khoiron Nurjasni Nurjasni Nurul Nabila Lubis Octavia Amelia Putri Adelia Rafi Ryandieka Adinulhaq Rahel Raphita Sinabutar Rahmad Ardiansyah Rani Evilona Purba Refelina Tabitasari Ria Valentine Angela Manalu Rifana Dwi Dywanti Riris Desnia Sihombing Riscitta Ogilvie Hubertus Sinaga Ruth Manurung Safrida Lubis Salsabil Putri Setiawan Selly Sitompul Sellyna Nova Insani Sinta Fransiska Manik Siti Patimah Sonya Pasaribu Sonya Steffy Silitonga Sri Ayu Hidayati Steven Gilbert Banjarnahor Subandi Subandi Syamsul Bahri Theresia Theresia Tiodame Layupa Simanullang Ulfian Haitami Vika Sihombing Yolanda Marchella Zara Mahfuza