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الصراع الداخلي على الشخصية الرئيسية في القصة القصيرة الملاك الأعرج لمنى مرشود syarifah syarifah
EL- Hayah Vol. 14 No. 2 (2024): Desember 2024
Publisher : Pascasarjana UIN Raden Mas Said Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22515/elha.v14i2.11732

This research examines the psychological aspects in the short story "The Lame Angel". This research is a qualitative descriptive study using Kurt Lewin's literary psychology approach. The data collection techniques used in this research were library techniques, reading and note-taking. In this research, he began to use Kurt Lewin's theory to identify interactions that occurred between the main character and other characters which led to conflict. The results of this research show that the author mentions internal conflict in the short story "The Lame Angel" by Mona Marchoud. By using Kurt Lewin's psychological studies, two things can be concluded. First, getting closer indicates a form of internal conflict, happiness, and anxiety. Approach-distancing conflict takes the form of disappointment, fear and anger, while Approach-distancing conflict takes the form of disappointment, annoyance and anxiety. Second: The response to resolving internal conflict in the short story is divided into three parts, namely 1) anxiety, 2) bargaining, 3) choice/rejection. These three actions carried out by the main character occur until the main character understands himself and is able to accept the current situation.

Testimonial Injustice in YouTube Comment Sections: An Epistemological Reflection on Digital Discourse Syarifah Syarifah; Jumino Suhadi; Devi Pratiwy
Jambura Journal of English Teaching and Literature Vol 7, No 1 (2026): Jambura Journal of English Teaching and Literature
Publisher : Universitas Negeri Gorontalo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37905/jetl.v7i1.37063

YouTube comment sections are often treated as noisy and trivial spaces, yet they function as important arenas where people negotiate knowledge, credibility, and authority. This article examines how testimonial injustice unfolds in YouTube comment sections through everyday interactions surrounding contested knowledge claims. Drawing on social epistemology, particularly the concept of testimonial injustice, this study focuses on how speakers are believed, dismissed, or granted authority in digital discourse. Using qualitative discourse analysis, the data consist of selected comment threads responding to a viral YouTube video related to the Apollo moon landing. The comments were drawn from a dataset of 1,264 comments collected between 15 December 2025 and 1 March 2026, from which 9 comments and reply threads were purposively selected for detailed analysis. As YouTube comment sections continue to grow over time, the dataset reflects the comments available during the specified data collection period. The analysis shows four recurring epistemic patterns: credibility deficit, where testimonies are dismissed without engagement; uptake failure, where attempts to explain or correct information receive partial or no epistemic recognition; identity-based credibility judgments, where speakers are evaluated based on perceived competence rather than the content of their claims; and credibility excess, where confidence and technical tone grant undue epistemic authority. These findings suggest that YouTube comment sections are not merely spaces of misinformation or disagreement, but sites where epistemic norms are actively negotiated and often unevenly distributed. This article contributes to digital discourse studies by highlighting how testimonial injustice operates in everyday online interactions and by positioning YouTube as an epistemically consequential space rather than a marginal one.

EMPOWERED VOICES: A FEMINIST DISCOURSE ANALYSIS OF SELF-LOVE AND CONFIDENCE IN SELENA GOMEZ’S “WHO SAYS” Syarifah Syarifah
JOURNAL OF EDUCATION SCIENCE Vol 11, No 2 (2025): OKTOBER 2025
Publisher : Universitas Ubudiyah Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33143/jes.v11i2.5427

Popular music often serves as a subtle site where emotion and ideology intertwine. In Selena Gomez’s “Who Says,” lyrical vulnerability transforms into resilience, crafting a discourse where the female voice reclaims its worth. Within this context, the song operates as a medium of feminist self-articulation that negotiates the boundaries between self-doubt and empowerment. This study aims to examine how Gomez’s lyrics construct self-love and confidence as feminist agency through discursive strategies. Guided by Feminist Critical Discourse Analysis (Lazar, 2020, 2023), supported by hooks’ (2000) notion of self-love as political resistance, and informed by Butler’s (2022) view of performative subjectivity and Gill’s (2021, 2023) theorization of confidence culture and postfeminist affect, the study employs a qualitative textual approach. The analysis identifies three discursive patterns: repetition as resistance, pronoun shifts as collective identity, and rhetorical questioning as empowerment. Findings reveal that repetition reclaims the voice of self-worth, pronoun shifts dissolve the line between the individual and collective self, and rhetorical questions destabilize patriarchal authority. These patterns turn pop lyricism into an act of feminist redefinition. Ultimately, “Who Says” emerges as a lyrical manifesto of self-love—transforming the language of insecurity into affirmation and redefining agency as the right to exist beautifully and unapologetically. Keywords: agency, discourse, empowerment, feminism, music, self-love

PELATIHAN PENULISAN SURAT LAMARAN KERJA DAN COVER LETTER BAHASA INGGRIS BERBASIS CANVA UNTUK SISWA SMA PAB 3 MEDAN Syarifah Syarifah; Dewi Wulandari; Afni Rosalina; Ika Wulandari; Nur Laily Harfita
JURNAL PENGABDIAN KEPADA MASYARAKAT BIDANG PENDIDIKAN Vol. 7 No. 1 (2025): APRIL 2025
Publisher : Universitas Ubudiyah Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar

Kesiapan siswa tingkat sekolah menengah atas dalam menghadapi dunia kerja global sangat dipengaruhi oleh kemampuan mereka dalam menulis surat lamaran kerja dan cover letter berbahasa Inggris. Namun, kenyataan di lapangan menunjukkan bahwa banyak siswa belum memahami struktur penulisan surat lamaran secara tepat dan belum memiliki keterampilan mendesain dokumen lamaran secara menarik. Hal ini juga ditemukan di SMK PAB 3 Medan, di mana mayoritas siswa belum terbiasa menggunakan bahasa Inggris secara fungsional dan belum memanfaatkan media digital seperti Canva. Menanggapi permasalahan tersebut, tim dosen dari Universitas Deztron Indonesia melaksanakan kegiatan pengabdian kepada masyarakat berupa pelatihan menulis dan merancang surat lamaran kerja serta cover letter berbahasa Inggris berbasis Canva. Kegiatan ini diikuti oleh 30 siswa kelas XI dan dilaksanakan pada tanggal 10 Juni 2025. Metode pelatihan meliputi penyampaian materi, praktik langsung menulis dan mendesain dokumen, serta sesi tanya jawab dan evaluasi. Hasil pelatihan menunjukkan adanya peningkatan pemahaman siswa terhadap struktur dan isi surat lamaran kerja, serta kemampuan dalam memanfaatkan Canva untuk mendesain dokumen secara profesional dan menarik. Kegiatan ini juga berdampak pada meningkatnya kepercayaan diri dan kesiapan siswa dalam menghadapi dunia kerja di era digital. Diharapkan pelatihan ini dapat menjadi model pembelajaran terapan yang dapat direplikasi di sekolah lain dengan kebutuhan serupa.Kata Kunci: surat lamaran kerja, cover letter, Canva, pelatihan, siswa SMK

EMPOWERED VOICES: A FEMINIST DISCOURSE ANALYSIS OF SELF-LOVE AND CONFIDENCE IN SELENA GOMEZ’S “WHO SAYS” Syarifah Syarifah
JOURNAL OF EDUCATION SCIENCE Vol. 11 No. 2 (2025): OKTOBER 2025
Publisher : Universitas Ubudiyah Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33143/jes.v11i2.5427

Popular music often serves as a subtle site where emotion and ideology intertwine. In Selena Gomez’s “Who Says,” lyrical vulnerability transforms into resilience, crafting a discourse where the female voice reclaims its worth. Within this context, the song operates as a medium of feminist self-articulation that negotiates the boundaries between self-doubt and empowerment. This study aims to examine how Gomez’s lyrics construct self-love and confidence as feminist agency through discursive strategies. Guided by Feminist Critical Discourse Analysis (Lazar, 2020, 2023), supported by hooks’ (2000) notion of self-love as political resistance, and informed by Butler’s (2022) view of performative subjectivity and Gill’s (2021, 2023) theorization of confidence culture and postfeminist affect, the study employs a qualitative textual approach. The analysis identifies three discursive patterns: repetition as resistance, pronoun shifts as collective identity, and rhetorical questioning as empowerment. Findings reveal that repetition reclaims the voice of self-worth, pronoun shifts dissolve the line between the individual and collective self, and rhetorical questions destabilize patriarchal authority. These patterns turn pop lyricism into an act of feminist redefinition. Ultimately, “Who Says” emerges as a lyrical manifesto of self-love—transforming the language of insecurity into affirmation and redefining agency as the right to exist beautifully and unapologetically. Keywords: agency, discourse, empowerment, feminism, music, self-love

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