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All Journal Poetika: Jurnal Ilmu Sastra Caraka : Jurnal Ilmu Kebahasaan, Kesastraan, dan Pembelajarannya Jurnal Ilmiah Universitas Batanghari Jambi Berkala Arkeologi Gramatika: Jurnal Ilmiah Kebahasaan dan Kesastraan JETL (Journal Of Education, Teaching and Learning) GERVASI: Jurnal Pengabdian kepada Masyarakat Literasi : Jurnal Bahasa dan Sastra Indonesia serta Pembelajarannya Titian: Jurnal Ilmu Humaniora SULUK: Jurnal Bahasa, Sastra, dan Budaya Didaktik : Jurnal Ilmiah PGSD STKIP Subang CrossOver:Journal of Adaptation Studies Kajian Linguistik dan Sastra Takuana: Jurnal Pendidikan, Sains, dan Humaniora PKM Linggau: Jurnal Pengabdian dan Pemberdayaan Masyarakat Proceeding International Conference on Malay Identity Alinea: Jurnal Bahasa, Sastra, dan Pengajaran Prosiding Seminar Nasional Humaniora BAHASTRA Berkala Arkeologi JURNAL PENDIDIKAN BAHASA Deiksis: Jurnal Pendidikan Bahasa dan Sastra Indonesia Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Dwi Rahariyoso, Dwi
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Religion Aerospace Engineering Agriculture, Biological Sciences & Forestry Arts Humanities Civil Engineering, Building, Construction & Architecture Earth & Planetary Sciences Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Mathematics Social Sciences Other

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DINAMIKA EMOSI TOKOH UTAMA DALAM NOVEL SEPORSI MIE AYAM SEBELUM MATI KARYA BRIAN KHRISNA Medikana, Rosaria; Maizar Karim; Dwi Rahariyoso
Didaktik : Jurnal Ilmiah PGSD STKIP Subang Vol. 12 No. 01 (2026): Volume 12 No. 01, Maret 2026 Release
Publisher : STKIP Subang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36989/didaktik.v12i01.12083

Abstract

This study aims to describe the emotional dynamics of the main character, Ale, in the novel Seporsi Mie Ayam Sebelum Mati by Brian Khrisna using David Krech’s theory of emotions. The focus of the study is to identify the forms of emotions experienced by the character based on the categories of guilt, repressed guilt, self-punishment, shame, sadness, hatred, and love. This research employs a literary psychology approach with a qualitative descriptive method. The data consist of narrative excerpts and dialogues that reflect the emotional expressions of the main character. The data were collected through close reading and note-taking techniques and then analyzed based on emotional indicators proposed by Krech. The findings reveal that Ale’s emotional dynamics are predominantly characterized by self-punishment, shame, and sadness. These emotions emerge as a result of bullying, social rejection, and unfair treatment he has experienced since childhood through adulthood. Meanwhile, guilt, repressed guilt, hatred, and love are not portrayed significantly. The study concludes that prolonged social rejection shapes destructive emotional patterns that influence the main character’s self-concept and psychological condition.
Narrative structures and platform influences in digital prose: A study of Gérard Genette’s structural narratology and Marie-Laure Ryan’s transmedial narratology Wulandari, Sovia; Fitriah, Siti; Triandana, Anggi; Putri, Aprilia Kartika; Rahariyoso, Dwi
BAHASTRA Vol. 46 No. 1 (2026): BAHASTRA
Publisher : Universitas Ahmad Dahlan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26555/bs.v46i1.1741

Abstract

The main aim of this research is to elaborate the narrative structure of digital prose across various online platforms and examine how digital media characteristics influence storytelling forms. A qualitative approach and the integration of Gérard Genette’s structural narratology with Marie-Laure Ryan’s transmedial narratology are applied. The object of this research is the selected texts from Wattpad, Webtoon, Fizzo, and Karyakarsa. The findings of this research show that digital prose tends to apply linear yet accelerated and fragmented narrative structures, characterized by dominant internal focalization and homodiegetic narration to enhance reader engagement. Furthermore, each platform shapes narrative configuration differently. For example, Webtoon emphasizes multimodal and spatialized storytelling, Wattpad facilitates participatory, community-driven narrative; third, Fizzo promotes compressed, fast-paced storytelling; and fourth, Karyakarsa integrates a narrative production with social and economic interaction. These results reveal that digital prose is not simply an extension of printed literature, but it is a platform-dependent narrative form which is shaped by the interaction between textual strategies (narratology structure) and technological affordances (transmedial narratology). This study contributes to digital narratology by highlighting how platform features actively reconfigure narrative structures and reader–text relationships in contemporary storytelling.
GONG BETINO DAN GONG JANTAN: KONSTRUKSI GENDER PADA ALAT MUSIK GONG BULUH KERINCI Amor Seta Gilang Pratama; Masvil Tomi; Dwi Rahariyoso
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 2 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4673

Abstract

This research focuses on the relationship between the cultural structure of Kerinci, and the Gong Buluh traditional music. What is being explored is how material culture is, also seen in treating the reed gong as a traditional musical instrument in Kerinci. The method used in this research is a qualitative method with a case study approach. The process of collecting data is by conducting ethnographic interviews. Ethnographic interview is a type of interview that is not too formal, friendly, but inserts ethnographic questions, such as questions that are descriptive, structural, and contrast. There are two stages of data analysis technique. The first stage is to codify the data that has been obtained. The second stage is to carry out an analysis between data, to see the relationship between the structure of the kerinci culture and Gong Buluh, using the theory or concept that has been referred to. The results of the study show that epistemologically, the structure of the reed gong is divided into two parts, namely the gong betina and the gong jantan. Gong betina have a higher sound intensity than gong jantan. The terms betina and jantan in the context of the gong become a duality related to the structure of the Kerinci culture. The Kerinci tribe adheres to a materiallineal system, in which women (ninik mamak, inner child) are the highest customary authority holders. The structure of the gong reed thus has a similarity to the construction of the Kerinci culture which is the basis and convention in rituals traditions, especially Kenduri Sko.
Representasi dan Resistensi Perempuan dalam Sihir Perempuan Karya Intan Paramaditha: Perspektif Kritik Sastra Feminis Ihwandi Ihwandi; Sovia Wulandari; Dwi Rahariyoso; Irma Suryani
Takuana: Jurnal Pendidikan, Sains, dan Humaniora Vol. 5 No. 1 (2026): Takuana (April-June)
Publisher : MAN 4 Kota Pekanbaru

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56113/takuana.v5i1.539

Abstract

This study aims to analyze and comprehensively describe the representation of women in Sihir Perempuan, a collection of short stories by Intan Paramaditha, using the framework of feminist literary criticism. The research employed a qualitative descriptive method with content analysis as the primary analytical technique. The main data consisted of narrative texts, dialogues, and characters’ inner monologues found in ten selected short stories from the anthology. Data were collected through close reading and note-taking techniques, while theoretical triangulation was applied to ensure data validity. The findings reveal that the representation of women in the anthology is structurally categorized into three major dimensions. First, the physical dimension highlights bodily exploitation, clothing as a marker of social status, and the deconstruction of patriarchal beauty standards. Second, the psychological dimension portrays inner anxiety, existential trauma, obsession, and neurotic fear resulting from both domestic and public pressures. Third, the social dimension demonstrates the complexity of women's roles as subordinates within family institutions, secretaries subjected to workplace harassment, and victims of social marginalization due to mystical stigmas and collective rumors. Through the use of Gothic horror aesthetics and the deconstruction of conventional fairy tales, Intan Paramaditha not only depicts women's oppression but also articulates female agency, resistance, and radical forms of rebellion aimed at challenging and dismantling patriarchal social structures.
Struktur Fisik dan Batin Puisi dalam Perspektif Multimodalitas pada Kanal YouTube Fiksionalisme Arif Wahyu Widodo; Sovia Wulandari; Yoga Mestika Putra; Irma Suryani; Dwi Rahariyoso
Takuana: Jurnal Pendidikan, Sains, dan Humaniora Vol. 5 No. 1 (2026): Takuana (April-June)
Publisher : MAN 4 Kota Pekanbaru

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56113/takuana.v5i1.540

Abstract

The development of digital technology has transformed conventional text-based poetry into a form of digital literature that integrates textual, auditory, and visual elements. This study aims to describe the physical and inner structures of poetry from a multimodal perspective on the Fiksionalisme YouTube channel. The research employed a qualitative descriptive method using a structuralist approach to poetry. The data consisted of words, phrases, lines, and multimodal elements, including audio and visual components, collected through observation, note-taking, and screenshot documentation techniques. The findings reveal that the physical structure of the poems is characterized by the use of connotative and metaphorical diction, dominant figurative language (metaphor, personification, hyperbole, and simile), natural free rhyme, and dynamic digital typography. The inner structure predominantly reflects themes of love, longing, admiration, and inner conflict, accompanied by romantic-melancholic tones and reflective atmospheres. From a multimodal perspective, vocal intonation, background music, and visual imagery function as integral meaning-making resources that reinforce emotional expression and audience engagement. These findings demonstrate that poetry presented on the Fiksionalisme YouTube channel represents a contemporary form of digital literature in which linguistic and multimodal elements interact synergistically to enrich literary aesthetics and appreciation in the digital era.
Struktur Naratif Seymour Chatman Dalam Kumpulan Cerpen Memburu Muhammad Karya Feby Indirani Aviriyanto Dwi Fernanda; Liza Septa Wilyanti; Dwi Rahariyoso
Alinea: Jurnal Bahasa, Sastra dan Pengajaran Vol. 5 No. 3 (2025): Alinea: Jurnal Bahasa, Sastra, dan Pengajaran
Publisher : Bale Literasi: Lembaga Riset, Pelatihan & Edukasi, Sosial, Publikasi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58218/alinea.v5i3.2086

Abstract

This study aims to describe the narrative structure in the short story collection Memburu Muhammad by Feby Indirani by applying Seymour Chatman’s theoretical framework, which distinguishes between the components of story and discourse. The research is grounded in the need to understand how contemporary literary works construct meaning through narrative organization, particularly those addressing social, spiritual, and humanistic issues. The data consist of textual excerpts, events, actions, characters, and discourse elements found in five selected short stories Rahasia Rumah Kami, Bakso Terenak di Dunia, Dia Bertanya Tentang Tuhan, Kisah Cinta Azazil, and Melukis Tuhan, with the short story collection serving as the primary data source. Data were collected through close reading, observation, and note-taking, followed by systematic classification using Chatman’s analytical categories. The analysis employed a qualitative descriptive method by reducing data, identifying the structure of story and discourse, interpreting their narrative functions, and examining how both components interact to shape the thematic meaning of each story. Data validation was conducted through theoretical triangulation and referential adequacy to ensure the accuracy of interpretation. The results show that all five stories exhibit coherent story structures composed of kernels, character actions, events, characterizations, and settings, while their discourse elements appear through variations in narrative sequencing, flexible points of view, and symbolic-reflective linguistic style. These findings indicate that Feby Indirani successfully integrates story and discourse to create meaningful narratives that are communicative, aesthetically rich, and capable of encouraging readers to engage critically with moral, spiritual, and humanistic issues.
A Depiction of Poverty in Fiersa Besari’s Novel Tapak Jejak Using Ian Watt’s Sociological Approach Syafitri, Eka Ari; Rahariyoso, Dwi; Afria, Rengki
Kajian Linguistik dan Sastra Vol. 2 No. 3 (2023): September 2023
Publisher : Prodi Sastra Indonesia, FKIP Universitas Jambi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22437/kalistra.v2i3.59007

Abstract

This study aims to describe the author’s social context in Fiersa Besari’s novel *Tapak Jejak*. It also aims to describe literature as a reflection of society in Fiersa Besari’s novel *Tapak Jejak*, as well as to describe the social function of literature in Fiersa Besari’s novel *Tapak Jejak*. This study was conducted by identifying, describing, and analyzing the author’s social context, literature as a mirror of society, and the social function of literature in the novel *MA YAN*, based on Ian Wat’s sociological approach to literature. This novel depicts the poverty experienced by the character Fiersa Besari and the people of Eastern Indonesia. The research method used in this study is qualitative descriptive. The data in this study consist of excerpts depicting poverty from the novel Tapak Jejak by Fiersa Besari. The data collection methods used in this study were reading and note-taking. Abstrak Penelitian ini bertujuan untuk mendeskripsikan konteks sosial pengarang dalam novel Tapak jejak karya Fiersa Besari. Mendeskripsikan sastra sebagai cerminan masyarakat dalam Novel Tapak Jejak Karya Fiersa Besari. Serta mendesripsikan fungsi sosial sastra dalam novel Tapak Jejak karya Fiersa Besari. Penelitian ini dilakukan dengan mengidentifikasi, mendeskripsikan, dan menganalisis konteks sosial pengarang, sastra sebagai cermin masyarakat dan fungsi social sastra dalam Novel MA YAN berdasarkan pendekatan sosiologi sastra Ian Wat. Novel ini menunjukkan gambaran kemiskinan yang terjadi pada sang tokoh Fiersa Besari dan Masyarakat Indonesia timur. Metode dalam penelitian ini adalah deskriptif kualitatif. Data dalam penelitian ini adalah kutipan-kutipan yang menggambarkan kemiskinan yang terdapat dalam Novel Tapak Jejak karya Fiersa Besari Teknik pengumpulan data dalam penelitian adalah teknik baca, dan teknik pencatatan.
Membaca Papua sebagai “Timur”: Kajian Orientalisme Edward Said dalam Antologi Puisi Bertemu Belalang Karya Gody Usnaat Febriani, Rini; A, Syahrizal Firdaus; Maulida, Aulia; S, Muhammad Erlangga; Rahariyoso, Dwi
Titian: Jurnal Ilmu Humaniora Vol. 10 No. 1 (2026): Juni 2026
Publisher : Fakultas Ilmu Budaya, Universitas Jambi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22437/titian.v10i1.59002

Abstract

Penelitian ini bertujuan mengungkap representasi Papua sebagai “Timur” atau the Other dalam kumpulan puisi Bertemu Belalang karya Gody Usnaat serta menjelaskan posisi pengarang sebagai outsider dalam merepresentasikan Papua. Penelitian ini menggunakan metode deskriptif kualitatif dengan pendekatan kritik sastra pascakolonial. Objek material penelitian berupa puisi "Bertemu Belalang" dan "Belajar Mengeja Huruf" dalam antologi Bertemu Belalang karya Gody Usnaat, sedangkan objek formalnya adalah representasi Papua sebagai “Timur” atau the Other dalam perspektif orientalisme Edward Said. Data penelitian berupa diksi, metafora, suasana, dan simbol-simbol kultural yang diperoleh melalui teknik baca dan catat, kemudian dianalisis secara deskriptif-interpretatif. Hasil penelitian menunjukkan bahwa Papua direpresentasikan sebagai wilayah pinggiran yang menempati posisi simbolik sebagai “Timur” melalui empat pola utama, yaitu keterpinggiran pendidikan, trauma konflik, kekhasan ekologis, dan solidaritas komunal. Keempat pola tersebut membangun Papua sebagai ruang yang berbeda dari pengalaman dominan yang dibentuk oleh pusat sehingga memposisikannya sebagai Timur (the Other). Penggunaan idiom lokal, nama-nama satwa, dan lanskap budaya Papua menunjukkan upaya pengarang menghadirkan dunia hidup masyarakat Papua secara lebih manusiawi sekaligus mengkritik marginalisasi yang dialami masyarakat Papua. Akan tetapi, sebagai pengarang yang berasal dari luar Papua, Gody Usnaat tidak sepenuhnya terbebas dari logika orientalisme yang dikritiknya. Penekanan yang berulang pada keterbelakangan, keterpencilan, dan pengalaman konflik justru memperlihatkan adanya ambivalensi karena di satu sisi mengkritik representasi dominan mengenai Papua, tetapi di sisi lain masih mereproduksi sebagian stereotip tentang Papua sebagai wilayah yang berbeda dan tertinggal. Penelitian ini menunjukkan bahwa orientalisme tidak hanya bekerja dalam relasi geografis antara Barat dan Timur, tetapi juga dapat dibaca secara analogis melalui relasi antara pusat dan pinggiran dalam konteks Indonesia. Abstract This study aims to examine the representation of Papua as the “East” or the Other in Gody Usnaat’s poetry collection Bertemu Belalang and to explain the author’s position as an outsider in representing Papua. The study employs a qualitative descriptive method within a postcolonial literary criticism framework. The material objects of the study are the poems “Bertemu Belalang” and “Belajar Mengeja Huruf” from Bertemu Belalang by Gody Usnaat, while the formal object is the representation of Papua as the “East” or the Other through Edward Said’s theory of Orientalism. The data consist of diction, metaphors, atmosphere, and cultural symbols collected through close reading and note-taking techniques and analyzed using a descriptive-interpretative approach. The findings reveal that Papua is represented as a peripheral region occupying the symbolic position of the “East” through four dominant patterns: educational marginalization, the trauma of conflict, ecological distinctiveness, and communal solidarity. These patterns construct Papua as a space differentiated from the dominant experience shaped by the center, thereby positioning it as the Other. The use of local idioms, the names of indigenous fauna, and Papua’s cultural landscapes reflects the poet’s effort to portray the lived experiences of Papuan communities in a more humane manner while simultaneously criticizing their marginalization. Nevertheless, as an author originating from outside Papua, Gody Usnaat is not entirely free from the Orientalist logic that he seeks to challenge. The recurring emphasis on underdevelopment, remoteness, and experiences of conflict reveals an inherent ambivalence: on the one hand, the poems contest dominant representations of Papua; on the other hand, they inadvertently reproduce certain stereotypes that portray Papua as a remote and underdeveloped region. This study demonstrates that Orientalism operates not only through the geographical relationship between the West and the East but can also be understood analogically through the relationship between the center and the periphery within the Indonesian context.
TRANSFORMASI FOKALISASI DALAM EKRANISASI NOVEL “MENGAKU BAPAK” KE FILM FATHER AND SON Diana Lase; Irma Suryani; Dwi Rahariyoso
Didaktik : Jurnal Ilmiah PGSD STKIP Subang Vol. 12 No. 02 (2026): Volume 12 Nomor 02, Juni 2026 Published
Publisher : STKIP Subang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36989/didaktik.v12i02.14937

Abstract

This study is motivated by changes in the representation of character perspective in the process of novel-to-film adaptation. The study aims to describe the forms of focalization in the novel Mengaku Bapak and the film Father and Son, examine the representation of focalization in both media, and identify the forms of focalization transformation occurring in the adaptation process. This research employs a qualitative descriptive method using narratological and adaptation approaches. The data consist of narrative excerpts from the novel and dialogues from the film that reflect the perspective of the main character. Data were analyzed using Genette’s theory of focalization and Eneste’s theory of adaptation. The findings reveal that both Mengaku Bapak and Father and Son are dominated by fixed internal focalization, with Iman functioning as the central focalizer. Major events in both works are presented through Iman’s subjective experiences. Although the type of focalization remains unchanged, the adaptation process transforms the way those subjective experiences are represented. In the novel, the character’s inner experiences are conveyed explicitly through narration that provides direct access to his thoughts and feelings, whereas in the film the same experiences are represented through dialogue and actions. The dominant forms of transformation identified are variation and reduction. Therefore, the adaptation process does not alter the type of focalization employed but rather transforms the mechanism through which the character’s subjective experiences are represented in accordance with the characteristics of each medium.
Co-Authors A, Syahrizal Firdaus Ahyatun Maghfiroh Amor Seta Gilang Pratama Anggi Triandana Aprilia Kartika Putri Ari Mukti Wardoyo Adi Arif Wahyu Widodo Aviriyanto Dwi Fernanda Diana Lase Dimas Sanjaya Dwi Fernanda, Aviriyanto Ernanda Ernanda ERNANDA, ERNANDA Febriani, Rini Firliyana, Nur Fitriyanti Fitriyanti Hidayat, Ruldi Ihwandi Ihwandi Ilham Falani Insani, Nurfadhila Fadlil Irma Suryani Irma Suryani Irma Suryani Izar, Julisah Kurniadi Ilham Layzi Sw Azzahra Layzi Sw Azzahra Liza Septa Wilyanti Liza Septa Wilyanti Mahanani, Nugrahadi Maizar Karim Maizar Karim Maulida, Aulia Medikana, Rosaria Muhammad Iqbal Fahlefi Muhammad Rohiq Nainunis Aulia Izza Nazurty Nazurty Nopiansyah Radius Nurfitri Susanti OKTADINATA, ALEK Pratama, Amor Seta Gilang Putri Marsyanda Radius Nopiansyah Reli Handayani, Reli Rengki Afria Riduansyah Riduansyah Rio Yudha Maulana Roudotul Janna S, Muhammad Erlangga Sari, Tika Siti Fitriah Sovia Wulandari Syafitri, Eka Ari Tomi, Masvil Warni Warni Wawan Junresti Daya Wilyanti, Liza Septa Wulandari, Sovia Yoga Mestika Putra Yovhandra Ockta Yundi Fitrah