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All Journal English Language and Literature KLAUSA (Kajian Linguistik, Pembelajaran Bahasa, dan Sastra) Journal of Language and Literature Vernacular
Sasmita, Rheina
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Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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A Cyber-Pragmatics Analysis: ANIMAL EMOJIS AS K-POP IDOL REPRESENTATION Hasan, Hani Firlyali; Sasmita, Rheina; Lubis, Ezra Rumatha; Simangunsong, Anisyah; Azura, Shakira Dwi; Putri, Dian Marisha
Vernacular: Linguistics, Literature, Communication and Culture Journal Vol. 3 No. 1 (2023): July 2023 Edition
Publisher : Universitas Harapan Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35447/vernacular.v3i1.712

Abstract

In recent years, K-pop has expanded around all over the world, and its fans have created special ways that refer to their idols, such making use of animal emojis. This study examines how animal emojis are used in K-pop to convey alternate meanings, particularly when used in place of idol names. The study utilized a qualitative approach with the theory of reference as the theoretical framework. Data was collected from social media platforms, Twitter. The findings suggest that the use of animal emojis in K-pop culture serves as a form of the unique characteristics of the K-pop community and also a solution to convey meaning effectively within Twitter’s limitation characters. The discipline of cyber-pragmatics, or the study of language use in digital communication, is pertinent to this investigation. As a type of digital communication, the use of animal emojis in K-pop culture demonstrates how fans have adapted to the digital age and created their own language and communication style.
Morphological Stylistic Analysis in William Blake’s Poem “Spring” Nasution, Atikah Auni; Matanari, Desna Uli; Fianda, Afiqah; Sasmita, Rheina; Rangkuti, Rahmadsyah
English Language and Literature Vol 13, No 4 (2024)
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ell.v13i4.128295

Abstract

Morphemes used in the poem can alter the reader's perception and interpretation of the poem's meaning and message. It demonstrates the variety of language and the freedom of expression enabled by using morphemes in literature, particularly poems. This study aims to identify several types of free and bound morphemes, such as lexical, functional, derivational, and inflectional morphemes found in William Blake's Poem "Spring." The researchers analyzed the data using a descriptive-qualitative method. Based on this research, William Blake's Poem "Spring" has 27 lines. This research showed William Blake's poem "Spring" contained 83 morphemes. Lexical morpheme was the most frequently found (56%). The second most common was functional morpheme (31%), derivational morpheme (8%), and the least inflectional morpheme (5%). Therefore, a number of morphemes in William Blake's poem "Spring" were dominated by lexical morphemes. This poem emphasizes the poet's desire to explore ideas through the use of a variety of words and phrases.
POLITENESS STRATEGY USED BY JESS NO LIMIT AND MIAWAUG WHILE PLAYING RIDE OUT HEROES (ROH) TOGETHER (MABAR) Pradinda, Yulia; Tarigan, Abigail Putri Chrissantha; Sasmita, Rheina; Rangkuti, Rahmadsyah
KLAUSA (Kajian Linguistik, Pembelajaran Bahasa, dan Sastra) Vol 8 No 2 (2024): KLAUSA Vol 8 No 2 (2024)
Publisher : Ma Chung Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33479/klausa.v8i2.1112

Abstract

This research aims to analyze the types of politeness strategies used by Jess No Limit and MiawAug during their Ride Out Heroes (ROH) gameplay, using Brown and Levinson’s (1987) theory. The descriptive qualitative method was employed in this study, with data sourced from the transcript of the YouTube gaming video where Jess No Limit and MiawAug played together (mabar) the ROH game. It was uploaded on MiawAug’s YouTube channel on November 1, 2019. The data included utterances from Jess No Limit and MiawAug that contained politeness strategy. Data were collected using documentation and note-taking techniques and analyzed through content analysis. The results indicate that 250 utterances containing politeness strategy were identified, with Jess No Limit contributing 107 and MiawAug contributing 143 utterances. Specifically, Jess No Limit used bald on record 20%, positive politeness 68%, negative politeness 8%, and off-record 4%. MiawAug used bald on record 32%, positive politeness 51%, negative politeness 11%, and off-record 6%. Jess No Limit and MiawAug predominantly used positive politeness strategy, highlighting their focus on maintaining a friendly and cooperative interaction during gameplay.
Conceptual Metaphor in Lonestar Song Lyrics “I’m Already There”: A Cognitive Stylistic Analysis Nasution, Atikah Auni; Matanari, Desna Uli; Fianda, Afiqah; Sasmita, Rheina; Rangkuti, Rahmadsyah
Humanitatis : Journal of Language and Literature Vol. 10 No. 2 (2024): Humanitatis: Journal of Language and Literature
Publisher : LPPM Universitas Bumigora Mataram

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30812/humanitatis.v10i2.4070

Abstract

Metaphor is one of the most effective strategies for making literary works more evocative, striking, and beautiful. Metaphor's significance goes beyond literature to cognitive stylistics, which studies the cognitive processes that underpin language use and interpretation. This study aims to explain the types of conceptual metaphors found in the Lonestar song lyrics "I'm Already There" using Lakoff and Johnson's conceptual theory. The research method used in this study is a descriptive-qualitative method. The research results show that there are 7 conceptual metaphors found in Lonestar's song lyrics "I'm Already There". The results revealed that it contains all forms of conceptual metaphors. Structural metaphors were the most common (43%). Followed by ontological metaphors were also popular (43%). While orientational was the least (14%). Thus, both structural and orientational metaphors dominated the lyrics of "I'm Already There" by Lonestar. This use of metaphorical language incorporates both abstract and physical components, setting the song's narrative apart from others. Overall, the use of structural and ontological metaphors in Lonestar's "I'm Already There" highlights their significant impact on the song's lyrical composition.
Co-Authors Azura, Shakira Dwi Fianda, Afiqah Hasan, Hani Firlyali Lubis, Ezra Rumatha Matanari, Desna Uli Nasution, Atikah Auni Pradinda, Yulia PUTRI, DIAN MARISHA Rangkuti, Rahmadsyah Simangunsong, Anisyah Tarigan, Abigail Putri Chrissantha