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All Journal Transform : Journal of English Language Teaching and Learning Sintaksis: Publikasi Para Ahli Bahasa dan Sastra Inggris International Journal of Multilingual Education and Applied Linguistics Blaze: Jurnal Bahasa dan Sastra dalam Pendidikan Linguistik dan Pengembangan
Putri Naira
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Arts Humanities Computer Science & IT Education Electrical & Electronics Engineering Languange, Linguistic, Communication & Media Public Health Social Sciences Other

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Conflict Analysis in Denis Villeneuve’s film Prisoners Syamsul Bahri; Putri Naira; Fitra Aulia Simatupang; Farid Rizaldi
BLAZE : Jurnal Bahasa dan Sastra dalam Pendidikan Linguistik dan Pengembangan Vol. 3 No. 2 (2025): BLAZE : Jurnal Bahasa dan Sastra dalam Pendidikan Linguistik dan Pengembangan
Publisher : STIKes Ibnu Sina Ajibarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59841/blaze.v3i2.2794

Abstract

The film Prisoners (2013), directed by Denis Villeneuve, presents a complex portrayal of emotional intensity, moral ambiguity, and psychological struggle in the aftermath of a child kidnapping. Conflict becomes the central element that shapes the characters, drives the storyline, and raises important questions about justice, resilience, and ethical boundaries. This study aims to explore the internal and external conflicts found in Prisoners, and how these tensions reflect challenges often encountered in real life. Using a descriptive qualitative method and based on William Kenney’s theory of conflict, the research closely analyzes key scenes and character interactions to identify patterns of tension and confrontation. The results show that Prisoners features 15 conflict events: internal conflict (26.67%), man vs. man (33.33%),man vs. society (26.67%), and man vs. nature (13.33%), with with man vs. man emerging as the most dominant, emphasizing the focus on intense personal struggles and confrontations between characters. The findings suggest that Prisoners (2013) uses conflict not just as a narrative device, but also as a way to invite the audience to reflect on moral choices, human limits, and the emotional cost of seeking justice in moments of crisis.
Efforts to Improve Public Speaking Skills for New Students Putri Naira
TRANSFORM: Journal of English Language Teaching and Learning Vol. 13 No. 3 (2024): September, 2024
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/tj.v13i3.67204

Abstract

This article discusses the importance of public speaking skills in various aspects of life, ranging from academic to professional settings. Public speaking not only enhances communication abilities but also builds confidence and leadership skills. Through the analysis of various techniques and strategies, the article provides insights into how to develop public speaking skills, including mastery of content, body language, and audience management. By understanding and applying public speaking skills, individuals can improve their communication effectiveness, influence others, and open new career opportunities. Research shows that students actively engaged in public speaking tend to achieve higher academic performance and are better prepared to enter the workforce. Therefore, the development of public speaking skills should be a focus in higher education curricula to produce graduates who are competent in facing global challenges.
Sarcasm in William Shakespeare’s Drama Much Ado About Nothing Syamsul Bahri; Putri Naira; Farid Rizaldi; Yolanda Marchella; Fitra Aulia Simatupang
International Journal of Multilingual Education and Applied Linguistics Vol. 3 No. 1 (2026): International Journal of Multilingual Education and Applied Linguistics
Publisher : Asosiasi Periset Bahasa Sastra Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61132/ijmeal.v3i1.424

Abstract

Sarcasm is a literary device and one of the most expressive forms of figurative language, often used to convey humor, criticism, or emotional tension in both daily conversation and literature. This study explores the use of sarcasm in William Shakespeare‟s Much Ado About Nothing by applying Elizabeth Camp‟s (2011) typology, which classifies sarcasm into four types: propositional, lexical, illocutionary, and like-prefixed sarcasm. Using a qualitative descriptive method, the researchers collected all sarcastic utterances from the play, classified them according to Camp‟s framework, and analyzed their pragmatic functions in the dramatic context. The findings reveal a total of 50 sarcastic utterances, with propositional sarcasm being the most frequent (42%), followed by illocutionary sarcasm (28%), lexical sarcasm (24%), and like-prefixed sarcasm (6%). These results indicate that sarcasm serves as both a comedic and dramatic device, shaping character interactions, driving conflicts, and reinforcing Elizabethan cultural norms. Beatrice and Benedick‟s witty verbal duels exemplify how sarcasm fosters humor and intimacy, while Claudio‟s sarcasm highlights themes of honor and social tension. Overall, the study demonstrates that sarcasm in Shakespeare‟s play is not merely humorous banter but a sophisticated rhetorical strategy that enhances characterization, thematic depth, and audience engagement.
Sarcasm in William Shakespeare’s Drama Much Ado About Nothing Syamsul Bahri; Putri Naira; Farid Rizaldi; Yolanda Marchella; Fitra Aulia Simatupang
Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris Vol. 4 No. 1 (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.v4i1.2410

Abstract

Sarcasm is a literary device and one of the most expressive forms of figurative language, often used to convey humor, criticism, or emotional tension in both daily conversation and literature. This study explores the use of sarcasm in William Shakespeare‟s Much Ado About Nothing by applying Elizabeth Camp‟s (2011) typology, which classifies sarcasm into four types: propositional, lexical, illocutionary, and like-prefixed sarcasm. Using a qualitative descriptive method, the researchers collected all sarcastic utterances from the play, classified them according to Camp‟s framework, and analyzed their pragmatic functions in the dramatic context. The findings reveal a total of 50 sarcastic utterances, with propositional sarcasm being the most frequent (42%), followed by illocutionary sarcasm (28%), lexical sarcasm (24%), and like-prefixed sarcasm (6%). These results indicate that sarcasm serves as both a comedic and dramatic device, shaping character interactions, driving conflicts, and reinforcing Elizabethan cultural norms. Beatrice and Benedick‟s witty verbal duels exemplify how sarcasm fosters humor and intimacy, while Claudio‟s sarcasm highlights themes of honor and social tension. Overall, the study demonstrates that sarcasm in Shakespeare‟s play is not merely humorous banter but a sophisticated rhetorical strategy that enhances characterization, thematic depth, and audience engagement.
Co-Authors Farid Rizaldi Fitra Aulia Simatupang Syamsul Bahri Yolanda Marchella