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All Journal RETORIKA: Jurnal Ilmu Bahasa Jurnal Kajian Bali Mozaik Humaniora Aksara PRASASTI: Journal of Linguistics International Journal of Community Service Learning INTERACTION: Jurnal Pendidikan Bahasa JALL (Journal of Applied Linguistics and Literacy) Journal of Language and Literature IJOLTL (Indonesian Journal of Language Teaching and Linguistics) LINGUA : Jurnal Bahasa, Sastra, dan Pengajarannya Community Development Journal: Jurnal Pengabdian Masyarakat Prologue: Journal on Language and Literature Lexeme : Journal of Linguistics and Applied Linguistics SALEE: Study of Applied Linguistics and English Education Interference: Journal of Language, Literature, and Linguistics Jurnal Penelitian Agama Hindu Kulturistik : Jurnal Bahasa dan Budaya Linguistic Community Services Journal TRAVERSE - Journal of Language and Applied Linguistics Journal of Pragmatics and Discourse Research AKSARA: Jurnal Bahasa dan Sastra Litera : Jurnal Bahasa dan Sastra INTERACTION: Jurnal Pendidikan Bahasa Aksara Open Access DRIVERset e-Journal of Linguistics Mabasan
Agus Darma Yoga Pratama
Universitas Warmadewa
Religion Arts Humanities Economics, Econometrics & Finance Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

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Balinese Food Menu in Translation Agus Darma Yoga Pratama
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 13 No. 1 (2023): Volume 13 No 1 April 2023
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2023.v13.i01.p04

Abstract

Translation plays an important role in transferring the data among languages. Thus, translation is not just about translating languages, but also exploring cultures. This can be seen from the translation of traditional Balinese food menus which used to present various names of special dishes as part of Balinese local wisdom. The translation of traditional Balinese food menus is interesting to study since there are no professional translators involved in making it and the emergence of various technical terms are not easy to translate. This research was conducted with a qualitative descriptive method to analyze data and determine the translation strategy by considering the aspects of ingredients, taste, size, process, and shape. The theoretical framework by Newmark (1988) was applied to examine the data. The results of the analysis show that the food menu translation strategy which includes expansion and descriptive equivalent are based on several aspects of food menu translation.
The Illocutionary Acts in X Social Media Platform: “Hold On, It Hurts,” an Indonesian Alternative Universe (AU) by Noveni Adelia Agus Darma Yoga Pratama
e-Journal of Linguistics Vol. 18 No. 2 (2024): July
Publisher : The Doctoral Studies Program of Linguistics of Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/e-jl.2024.v18.i02.p11

Abstract

This article explores illocutionary acts within the "Hold On, It Hurts" Alternative Universe (AU) in the X application, utilizing Yule's theoretical framework as its foundation. The study focuses on how language, specifically illocutionary acts, creates and conveys meaning in this unique digital narrative space. Yule's theory also defines the classifications of speech acts, such as representative, directive, commissive, expressive, and declarative, and serves as a lens to dissect and understand the intricacies of communication within the AU. The research primarily centers on the illocutionary acts, examining how the characters in the "Hold On, It Hurts" AU use language not just for literal communication but to perform various actions and express complex emotions. The study investigates the dynamics between the speaker and listener within the AU, highlighting how context, speaker intentions, and underlying emotional states are crucial in interpreting these acts.
Digital Sarcasm as Social Critique: A Pragmatic and Cyberpragmatic Analysis of Social Media Reactions Agus Darma Yoga Pratama; Putu Vania Maharani Suastha
e-Journal of Linguistics Vol. 19 No. 2 (2025): July
Publisher : The Doctoral Studies Program of Linguistics of Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/e-jl.2025.v19.i02.p09

Abstract

This study investigates the use of sarcasm in social media comments responding to the comparison of corruption punishments in Indonesia and China. Using a qualitative approach with pragmatics and cyberpragmatics frameworks, the research identifies and analyzes the forms, functions, and contexts of sarcasm in digital discourse. Data were collected from high-engagement comments on platforms like Instagram and Twitter, focusing on posts criticizing the disparity in corruption sentences. Linguistic indicators such as hashtags, emojis, capital letters, and exclamation marks were observed, revealing sarcasm's role in conveying dissatisfaction. Pragmatically, comments served as tools for social critique, emphasizing protest against legal injustices and invoking moral values like fairness and transparency. Cyberpragmatically, the digital context amplified the emotional tone and increased the viral potential of the comments, enabling broader public discourse. This study highlights sarcasm's effectiveness as a means of public criticism, demonstrating how digital platforms facilitate creative and collective expressions of social dissatisfaction.
MAKNA BAHASA FIGURATIF DAN SIMBOL PADA LIRIK LAGU TARI MAENA PERNIKAHAN MASYARAKAT NIAS David Perwira Nasrani Laia; Agus Darma Yoga Pratama
MABASAN Vol. 17 No. 1 (2023): Mabasan
Publisher : Balai Bahasa Nusa Tenggara Barat

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62107/mab.v17i1.630

Abstract

Penelitian ini bertujuan untuk menganalisis apa saja jenis-jenis bahasa figuratif yang terkandung dalam setiap lirik lagu tari maena pernikahan masyarakat Nias dan mengungkap makna simbol yang terdapat pada pertunjukan tari maena di pernikahan masyarakat Nias. Metode penelitian ini adalah deskriptif kualitatif. Data penelitian ini bersumber dari rekaman video lagu tari maena pernikahan dalam album Rusdi Group (Tarian Maena Nias/Ono Niha) serta tiga orang informan. Setelah menganalisis data, peneliti menemukan lima jenis bahasa figuratif dalam lirik lagu tari maena pernikahan masyarakat Nias, yaitu metafora, perbandingan/simile, hiperbola, ironi, dan paradoks. Dari penelitian ini, dapat disimpulkan bahwa majas hiperbola lebih dominan digunakan dalam lirik lagu tari maena pernikahan karena kebiasaan masyarakat Nias yang selalu melebih-lebihkan dengan mengungkapkannya secara implisit dan simbol-simbol dalam pertunjukan tari maena sudah mengalami pergeseran makna. Penelitian ini diharapkan bisa menjadi pedoman bagi peneliti selanjutnya dalam mengkaji bahasa figuratif dalam tradisi lisan lainnya.
Gender Representation In Youtube Advertisements Through Critical Literacy In Education Novia Mudzayyanah; Agus Darma Yoga Pratama; Ni Kadek Amanda Astuti Dewi
Journal of Language and Applied Linguistics Vol. 7 No. 1 (2026): Journal of Language and Applied Linguistics January 2026
Publisher : Institut Pariwisata dan Bisnis Internasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22334/traverse.v7i1.252

Abstract

Digital media have become an important part of students' learning environments, shaping how learners access information and interpret social realities (Hatlevik et al., 2021; Pangrazio & Sefton-Green, 2022) exposing them not only to educational content but also to ideologically loaded media such as advertisements. Among digital platforms, YouTube plays a significant role in shaping students’ perceptions through its pervasive advertising content. This study investigates how gender representation is constructed in YouTube advertisements and examines its implications for students’ critical literacy in educational contexts. Employing a qualitative descriptive research design, the study analyzes eight YouTube advertisements from diverse product categories using Fairclough’s (1995) Critical Discourse Analysis framework, focusing on textual, discursive, and social practice dimensions. The findings reveal recurring gendered patterns in which home cleaning and domestic products are predominantly associated with female characters, while luxury, automotive, and technology-related products are more frequently represented through male figures. These representations reinforce conventional gender ideologies that link femininity with caregiving, emotional labor, and appearance, and masculinity with agency, productivity, and public success. The study argues that critical literacy practices are essential for raising students’ awareness of gendered social values embedded in digital advertising, enabling them to question dominant representations and develop more inclusive and equitable perspectives on gender.
Religious Values in the Cenk Blonk Shadow Puppet Show Ni Ketut Dewi Yulianti; I Wayan Suardana; Wardizal Wardizal; Ni Wayan Ardini; I Komang Darmayuda; Ni Kadek Dwiyani; Agus Darma Yoga Pratama
Jurnal Penelitian Agama Hindu Vol 10 No 2 (2026)
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37329/jpah.v10i2.5022

Abstract

The transformation of traditional performing arts in the digital era has opened new possibilities for transmitting religious values and moral education to younger generations who are increasingly influenced by media-driven cultural change. In this context, the Cenk Blonk shadow puppet show represents a contemporary adaptation of Balinese wayang kulit that combines humor, social criticism, and spiritual reflection, while remaining rooted in Hindu-Balinese ethical teachings. This study aims to analyze the representation of religious values and moral messages in three Cenk Blonk shadow puppet performances uploaded on YouTube, namely Backing Sakti, Tidak Cukup Hanya Cinta, and Sebuah Renungan (Setan dalam Diri). This research employs a descriptive qualitative approach using qualitative content analysis of narrative structures, dialogues, and symbolic expressions, reinforced by semi-structured interviews with the puppeteer to strengthen contextual interpretation. The findings reveal that the performances consistently articulate key religious values, including honesty (satya), self-control (dama), tolerance, compassion, and non-violence (ahiṁsā). These values are conveyed through character contrasts, humorous satire, and symbolic conflicts that reflect contemporary socio-political, familial, and religious realities. Moral messages emphasize ethical leadership, household harmony, religious humility, and interfaith respect, presented in ways that encourage reflection rather than didactic instruction. The study concludes that Cenk Blonk performances function as an effective culture-based educational medium that integrates entertainment and moral reflection. Through digital dissemination on YouTube, these performances expand their pedagogical reach and demonstrate the relevance of traditional arts in strengthening contextual, inclusive, and humanistic character development in the digital era.
Aspek Legibilitas Dalam Penerjemahan Teks Alih Bahasa Agus Darma Yoga Pratama
RETORIKA: Jurnal Ilmu Bahasa Vol. 1 No. 1 (2015): April 2015
Publisher : Program Studi Magister Ilmu Linguistik Universitas Warmadewa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22225/jr.1.1.2015.137-154

Abstract

Dalam penerjemahan film (subtitling), aspek legibilitas memiliki peranan penting yang mencakup beberapa kaidah dalam pengaturan teks alih bahasa (subtitle), baik dalam tampilan maupun durasinya. Kesesuaian dan ketepatan aspek legibilitas sangat mempengaruhi kualitas teks alih bahasa dalam sebuah film sehingga seorang penerjemah film tidak hanya dituntut harus menguasai ilmu terjemahan saja, tetapi juga memahami dan menerapkan beberapa aspek legibilitas tersebut. Tampilan teks alih bahasa pada film James Bond 007 Quantum of Solace, ditemukan bahwa jumlah karakter teks alih bahasa antara 35 sampai 40, walaupun terdapat beberapa jumlah karakter yang masih dibawah 35. Posisi teks alih bahasa dari kiri ke kanan, agak dibawah dengan warna putih pucat dan beberapa dengan warna oranye pada saat terjadinya percakapan dengan bahasa Italia. Selain itu, ada juga yang tercetak miring ketika sumber percakapan berasal dari lawan bicara di telpon. Durasi yang digunakan cukup bervariasi dengan hitungan detik sampai seperdetik, ini sangat penting mengingat durasi tampilan teks alih bahasa harus sesuai dengan durasi tampilan gambar pada layar.
The Functions Of Taboo Words And Their Translation In Subtitling: A Case Study In “The Help” Agus Darma Yoga Pratama
RETORIKA: Jurnal Ilmu Bahasa Vol. 2 No. 2 (2016): October 2016
Publisher : Program Studi Magister Ilmu Linguistik Universitas Warmadewa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22225/jr.2.2.2016.350-363

Abstract

Translating taboo words in subtitling especially translating them into Indonesian is quite difficult since most of the Indonesian people are not used to utter taboo or offensive words publicly. In addition, watching movie is more of social activity compared to reading and that is why reading taboo expressions while watching might be embarrassing. This is why this study tries to explore the functions of the taboo words found in “The Help” movie and tries to find out how the translator translate the taboo words into the target language in order to produce the closest functions to the source language without ignoring the technical aspects of subtitling. This study also deals with the strategy used by the translator to translate the taboo words. The main theories proposed herein are from Karamitroglou (1998), Ljung (2011), Toury (1995), and Gottlieb (1992).            There are 69 taboo words found in the raw data and the functions of those taboo words are to express sympathy, surprise, disappointment, disbelief, fear, annoyance, metaphorical interpretation, reaction to mishap, to emphasize the associated item, function as adjectival intensifier, name-calling, anaphoric use of epithet, oath, curse, unfriendly suggestion, and four of the taboo words show non-swearing word or in dysphemism form. The strategies applied are omission (17), transfer (27), and euphemism (25). In terms of the technical aspect in subtitling, all of the subtitles in the target language are presented at the maximum of two lines at once. However, there are three lines of the subtitles which exceed the maximum numbers of characters being proposed.            Since taboo word is not only used to offend someone, it is important for the translator to get the closest equivalence in the target language in order to maintain its function. The translator may choose whether he/she wants to follow the source language norms to produce adequate target text or follow the target language norms in order to produce acceptable target text. Keywords: translation strategy, subtitling, taboo word, dysphemism, omission, transfer, euphemism
DELETION IN MOVIE SUBTITLING Agus Darma Yoga Pratama
RETORIKA: Jurnal Ilmu Bahasa Vol. 4 No. 1 (2018): April 2018
Publisher : Program Studi Magister Ilmu Linguistik Universitas Warmadewa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22225/jr.4.1.2018.86-90

Abstract

Abstrak Deletion in movie subtitling is a common practice due to limited space and time for subtitles to appear at the bottom of the screen. The limits are in terms of time for the subtitles to appear and be read by viewers and the number of characters to be shown on screen. Therefore, deletion is a strategy used especially for summarizing meaning or information from long dialogues. This is interesting because deletion should be implemented without deleting meanings or important information contained within the dialogues. Deletion is also considered to be used because viewers don't want to read long texts, as they are more focused on the scenes. This research is conducted to study types of deletion applied in movie subtitling and the impacts on delivering meanings to viewers. This research focuses on two movies, i.e. an adult action movie titled 13 Hours: The Secret Soldiers of Benghazi (2016) and a children animated movie titled Ice Age 5: Collision Course, in which English is the source language and Indonesian is the target language. These two movies are selected to compare deletion applied on action movies for adults and movies for children. This research applies deletion theory by Karamitroglou (1997) that summarizes deletion types in movie subtitling, such as functional expressions that don't contain semantic aspects, cumulative adjectives, and responsive expressions. Those three types of deletion don't interfere with delivery of meaning to viewers because they are supported by other aspects, such as dialogues, images, and music. The results of this research show that some taboo expressions are found in the adult action movie, whereas exclamations are found more in the animated movie. This is in line with the types of the movies, so selection of utterances for the subtitles is made according to the viewers' age. Some of the expressions are translated, while some other are not. This is due to technical aspects related to the number of characters that can be shown for each line of the subtitles. The translated expressions are responsive ones, like oh, fuck that, whoa, watch out, come on, all right, and yeah as well as cumulative adjectives, like a fucking massive heavy force. The types of expressions that are not translated are responsive utterances like Ew in the animated movie Ice Age 5, expressions that indicate additional information like (MEN ARGUING), (GUNSHOT), (LAUGHS) in the action movie 13 Hours, and expressions for additional information like (SCREAMING) and (GRUNTING) in Ice Age 5. The translated and untranslated expressions are functional expressions that don't contain semantic meaning, like well in both movies. Keywords: translation, deletion, expressions, strategy.
The Translation of Reiteration Komang Astiari; I Wayan Budiarta; Agus Darma Yoga Pratama
RETORIKA: Jurnal Ilmu Bahasa Vol. 5 No. 2 (2019)
Publisher : Program Studi Magister Ilmu Linguistik Universitas Warmadewa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22225/jr.5.2.2019.138-147

Abstract

Lexical cohesion has been a serious issue as it is one of the important features in a text. Every writer must consider kinds of lexical devices in writing a text and so do the translator. The main problem in translating the lexical cohesion devices is the different structure between two languages. One device can be applied in one language but not in other language. This journal analyzed the translation of reiteration as part of lexical cohesion devices appeared in the short stories The Black Cat and The Cask of Amontillado written by American writer, Edgar Allan Poe. The short stories were translated by two Indonesian translators namely Anton Kurnia and Shinta Dewi. This research is conducted to share the practice of translating literature works especially a short story which contains a lot of lexical cohesion devices and to give contribution to the development of translation as part of linguistic studies. In doing the research, qualitative and quantitative method is applied including observation, interviews, or document reviews. In the source text, it was found 120 of lexical cohesion devices in the short story ”The Cask of Amontillado” and 187 lexical cohesion devices in the short story “The Black Cat”. The results obtained from this research were that Anton Kurnia translated 73% of lexical cohesion devices in the source language into the target language. Meanwhile, Shinta Dewi translated 94% of lexical cohesion devices in the source text to the target text.
Co-Authors Alexsander Loi Ana, I Wayan Anak Agung Gede Raka Anak Agung Sandra Novita Dewi Angelia, Ni Putu Putri Ayu Rachmadini, Ekha Novi Daimond Tavares Rosa Suhartono David Perwira Nasrani Laia David Perwira Nasrani Laia Dewa Ayu Dyah Pertiwi Putri DEWA AYU DYAH PERTIWI PUTRI, DEWA AYU DYAH PERTIWI Dian Susanthi I Gusti Ayu Agung I Gde Agung Wira Pertama I Gusti Agung Sri Rwa Jayantini I Gusti Ayu Agung Dian Susanthi I Komang Darmayuda I Made Astu Mahayana I Nyoman Kardana I Nyoman Sutapa I Wayan Muliawan I Wayan Suardana I Wayan Wesna Astara Kencana, Ni Putu Rena Wahyu Komang Astiari Kuntayuni Maeza, Insyira Nur Mahayana, I Made Astu Mahendhi, Ni Luh Made Risma Mariyatni, Ni Putu Sri Mirsa Umiyati Ni Kadek Amanda Astuti Dewi Ni Kadek Dwiyani Ni Ketut Dewi Yulianti Ni Luh Putu Mita MIATI Ni Made Rai Juniariani Ni Made Sila Ulati Ni Putu Sri Mariyatni Ni Wayan Ardini, Ni Wayan Novia Mudzayyanah Nurwahyuni Kiki Nyoman Mardika Panduyoga, R. Bambang Satrio Purwaningsih, Ni Komang Putu Vania Maharani Suastha Rahmat Gaho Suastha, Putu Vania Maharani Susanthi, I Gusti Agung Ayu Dian Wardizal Wardizal