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All Journal Sintaksis: Publikasi Para Ahli Bahasa dan Sastra Inggris
Melyana Pinem
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Languange, Linguistic, Communication & Media

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The Representation of Morality and Its Consequences in Shakespeare’s Timon of Athens Mhd Agri Amri; Melyana Pinem; Naomi Pricilia Tarigan; Endelina Miranda Marpaung; Syamsul Bahri
Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris Vol. 3 No. 6 (2025): 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.v3i6.2392

Abstract

Literary works are not only created for entertainment, but also to describe human life, which is full of values and moral issues. William Shakespeare's play ‘Timon of Athens’, which shows how a person is tested when betrayed by wealth, power, and friendship. This study aims to examine how morality is depicted in the play using Friedrich Nietzsche's theory of ‘master morality’ and ‘slave morality’. This study uses a descriptive qualitative method by analysing excerpts from the dialogue in the play “Timon of Athens” that demonstrate moral values. The results show that this play mostly depicts slave morality (65%), as Timon transforms from a kind and proud figure into someone filled with hatred and resentment after being betrayed. Meanwhile, master morality (35%) appears at the beginning of the story when he is still strong, confident, and generous. According to Nietzsche, master morality reflects strength, pride, independence, and the ability to create one’s own values, while slave morality emerges from weakness, suffering, and resentment as a reaction to disappointment or oppression. Overall, Timon of Athens illustrates how life changes and deep betrayal can cause a shift from the confidence and generosity of master morality to the bitterness and hatred found in slave morality.  
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 Endelina Miranda Marpaung Jessica Hotnida Nainggolan Meisuri Meisuri Mhd Agri Amri Nadia Kumari Naomi Pricilia Tarigan Riscitta Ogilvie Hubertus Sinaga Syamsul Bahri