MAHADAYA Jurnal Bahasa, Sastra, dan Budaya
Ruang lingkup penelitian /artikel yang dapat diterbikan di MAHADAYA Jurnal Bahasa, Sastra, dan Budaya antara lain : (1) Kebahasaan; keilmuan bahasa (fonologi, morfologi, sintaksis, semantik, wacana, pragmatik, sosiolinguistik, psikolinguistik); keterampilan berbahasa (menyimak, berbicara, membaca, menulis); (2) Kesusasteraan (teori sastra, sejarah sastra, kritik sastra, sastra bandingan, ekranasi, sosiologi sastra); (3) Budaya (deskripsi budaya, perbandingan budaya) (4) Pendidikan Bahasa, pembelajaran dan media pembelajaran bahasa, sastra, dan budaya.
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<![CDATA[TANGGAPAN MENGENAI MEDIA INTERAKTIF DOTA SEBAGAI MEDIA PEMBELAJARAN SHOKYUU DOKKAI ]]>
<![CDATA[Iman Hilman Firmansyah]]>;
<![CDATA[Anisa Arianingsih]]>;
<![CDATA[Soni Mulyawan Setiana]]>
<![CDATA[ MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya Vol 1 No 1 (2021): April 2021 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya, Universitas Komputer Indonesia ]]>
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DOI: 10.34010/mhd.v1i1.4846
<![CDATA[Penelitian ini bertujuan untuk mengetahui tanggapan responden terhadap media DoTa. Penelitian ini menggunakan metode penelitian ADDIE (Analysis, Design, Development, Implementation, Evaluation). Media ini berisi teks bacaan yang ada pada buku Minna no Nihongo Shokyuu II yang dipakai sebagai buku acuan pembelajaran Dokkai mahasiswa tingkat dua tahun akademik 2019/2020 di Program Studi Sastra Jepang Universitas Komputer Indonesia dengan menambahkan beberapa fitur sehingga dengan adanya penelitian ini diharapkan dapat menjadi media yang membantu dan mempermudah dalam pengajaran Shokyuu Dokkai serta menjadi alternatif dalam pembelajaran Dokkai. Pembuatan media interaktif DoTa menggunakan Corel Draw 2019 sebagai software pendukung dalam pembuatan desain, dan Adobe Flash CS6 sebagai software dalam memproses seluruh desain dan gagasan sehingga menjadi sebuah media interaktif. Temuan pada penelitian menunjukkan bahwa responden setuju dengan keseluruhan pertanyaan yang terdapat pada kuesioner terkait tanggapan media interaktif DoTa sebagai media pembelajaran dokkai.]]>
<![CDATA[ANALISIS JUKUGO BERAKHIRAN ～代 (DAI) DAN ～料 (RYOU) BERMAKNA BIAYA DALAM BAHASA JEPANG ]]>
<![CDATA[Zidan Supriadi]]>;
<![CDATA[Mohammad Ali]]>
<![CDATA[ MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya Vol 1 No 1 (2021): April 2021 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya, Universitas Komputer Indonesia ]]>
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DOI: 10.34010/mhd.v1i1.4847
<![CDATA[Penelitian ini bertujuan untuk mendeskripsikan makna biaya yang ditunjukkan oleh jukugo kanji berakhiran ～代 (dai) dan ～料 (ryou) bermakna biaya yang terdapat dalam buku Kamus Kanji Modern Jepang Indonesia karya Andrew N. Nelson, PH.D. Metode yang digunakan dalam penelitian ini adalah metode deskriptif. Berdasarkan hasil analisis, terdapat 12 makna biaya yang ditunjukkan jukugo berakhiran kanji ~代 (dai) dan~料 (ryou) dengan rincian : 2 makna biaya yang ditunjukkan oleh kanji berakhiran ~代 (dai) yaitu (1) Biaya yang dikeluarkan untuk membeli atau menyewa suatu barang, (2) Biaya yang dikeluarkan untuk menyewa sebuah tempat serta fasilitas di dalamnya untuk tujuan tertentu. Kemudian 10 makna biaya yang ditunjukkan oleh kanji berakhiran ~料 (ryou) yaitu (1) Biaya yang dikeluarkan untuk meminjam atau menyewa suatu barang, (2) Biaya yang dikeluarkan untuk menyewa sebuah tempat serta fasilitas di dalamnya untuk tujuan tertentu, (3) Biaya yang dikeluarkan sebagai imbalan jasa yang diterima oleh suatu pihak, (4) Biaya yang dikeluarkan sebagai imbalan perizinan memasuki suatu tempat atau wilayah, (5) Biaya yang dikeluarkan untuk membeli suatu barang, (6) Biaya yang dikeluarkan sebagai imbalan atau ucapan terima kasih, (7) Biaya yang dikeluarkan untuk mendapatkan hak atau izin kepemilikan suatu barang, (8) Biaya yang dikeluarkan untuk menggunakan jasa, barang, fasilitas secara berkala, (9) Biaya yang dikeluarkan untuk membayar kerugian yang dialami suatu pihak, dan (10) Biaya yang dikeluarkan setelah memakai suatu barang atau fasilitas.]]>
<![CDATA[FAKTOR YANG MEMPENGARUHI PERILAKU OTOKRAT TOKOH SHIRAISHI ITSUMI DALAM NOVEL ANKOKU JOSHI ]]>
<![CDATA[Medina Syafira Dwintanissa]]>;
<![CDATA[Anisa Arianingsih]]>;
<![CDATA[Fenny Febrianty]]>
<![CDATA[ MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya Vol 1 No 1 (2021): April 2021 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya, Universitas Komputer Indonesia ]]>
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DOI: 10.34010/mhd.v1i1.4848
<![CDATA[Penelitian ini bertujuan untuk mengetahui faktor yang mempengaruhi perilaku otokrat tokoh Shiraishi Itsumi karya Akiyoshi Rikako. Metode yang digunakan dalam penelitian ini adalah metode deksriptif analisis dengan menggunakan pendekatan psikologi sastra berdasarkan teori yang dikemukakan oleh Duane P. Schultz & Sydney E. Schultz. Hasil penelitian menunjukkan bahwa ada beberapa faktor yang mempengaruhi perilaku otokrat tokoh Shiraishi Itsumi, yaitu faktor genetik, faktor lingkungan, faktor belajar, faktor pengasuhan orang tua, dan faktor perkembangan.]]>
<![CDATA[THE LOST OEDIPAL STAGE OF HUMBERT HUMBERT IN NOBOKO'S LOLITA ]]>
<![CDATA[Vicky Larasita Latifa Dinar]]>;
<![CDATA[Nungki Heriyati]]>
<![CDATA[ MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya Vol 1 No 1 (2021): April 2021 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya, Universitas Komputer Indonesia ]]>
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DOI: 10.34010/mhd.v1i1.4849
<![CDATA[This paper analyses the lost oedipal stage of Humbert in Vladimir Nabokov’s Lolita. It aims to discover the main character’s motivation behind his sexual disorder and the inner conflicts of his psyche, in response to Humbert not experiencing the oedipal stage in his early years. The oedipal stage is a crucial development stage of a human being, and Humbert’s inexperience causes him to be unable to express his desires as an infant boy towards his mother resulting in his psyche developing abnormally. Humbert is considered a hebephiliac for his sexual attraction towards young girls due to the loss of maternal figure at the age of three. Thus, psychoanalysis theory by Sigmund Freud is used in order to analyse the impact of Humbert’s lost oedipal stage to his adult psyche by applying the tripartite theory. The data are collected using qualitative descriptive method, represented in direct quotes from the book. The paper reveals that Humbert’s lost oedipal stage holds a vital role in developing his sexuality in adult life. He only received a strong affection and love when he was thirteen, from Annabel that aged no older than fourteen. He has been holding on to the moment, in which he was able to express his desires as his id, and is unable to let it go even after Annabel’s decease, as his id was not fully fulfilled. This causes him a traumatic experience, leading to his sexual disorder which is developed further once he met Dolores Haze as Lolita.]]>
<![CDATA[TANGGAPAN RESPONDEN TERHADAP MEDIA PEMBELAJARAN KANJI LEARNING! ]]>
<![CDATA[Muhammad Rayhan Akbar]]>;
<![CDATA[Anisa Arianingsih]]>
<![CDATA[ MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya Vol 1 No 1 (2021): April 2021 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya, Universitas Komputer Indonesia ]]>
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DOI: 10.34010/mhd.v1i1.4850
<![CDATA[Penelitian ini bertujuan untuk mengetahui tanggapan responden terhadap media pembelajaran Kanji Learning!. Metode penelitian yang digunakan adalah metode ADDIE (Analysis, Design, Development, Implementation, Evaluation). Pembuatan media Kanji Learning! menggunakan software Adobe Flash CS6 dan Adobe Photoshop CC 2015. Kuesioner digunakan untuk mengumpulkan tanggapan responden dan dibagikan kepada 13 orang mahasiswa tingkat I tahun akademik 2020/2021 di Program Studi Sastra Jepang Universitas Komputer Indonesia. Hasil tanggapan responden terhadap media pembelajaran Kanji Learning!!! menunjukan bahwa Kanji Learning! termasuk ke dalam interval yang baik dengan nilai kriterium 502 pada rating scale dengan persentase sebesar 85,8%. Hasil kriterium tersebut dapat disimpulkan bahwa media pembelajaran Kanji Learning! adalah baik dan dapat membantu belajar kanji sekaligus sebagai media alternatif pembelajaran kanji. Media pembelajaran ini diharapkan dapat membantu pembelajar dalam belajar kanji N5.]]>
<![CDATA[TRANSMISSION OF TRAUMATIC EXPERIENCE THROUGH FLASHBACK IN THE FILM "SPEAK" ]]>
<![CDATA[Halimah Kartika Sari]]>;
<![CDATA[Nungki Heriyati]]>
<![CDATA[ MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya Vol 1 No 1 (2021): April 2021 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya, Universitas Komputer Indonesia ]]>
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DOI: 10.34010/mhd.v1i1.4851
<![CDATA[This research entitled ‘Transmission of Traumatic Experience through Flashback in The Film ‘Speak’’ aims to analyze the traumatic experience of Melinda delivered through some flashback illustration as narrative device in film. The method used descriptive analysis to describe the traumatic experience in the film and the data collected is taken the screenshots that categorized based on the Discourse time and Story time in order to show when the flashback occurs. Hence, to analyze the data use Cathy Caruth (1996) examined the experience of trauma is the agony of fear and anxiety that is sometimes difficult to control due to a sudden recall memory in mind and Seymour Chatman (1980) about flashback (retrospection) in film represents the repetition of memory or reviewing the past events or situations. In the discussion found that Melinda as a teenage girl has a mental damage due to the traumatic experience that occurred in the past. The experience is told in the form of flashback that played repetitively in different moment in the film. Thus, the result reveals that the repetition of flashback is used to complement the information and reveal the Melinda’s traumatic experiences which make her could not speak out about the problem sexual violence that occurred to her.]]>
<![CDATA[FUNGSI SOSIAL BAHASA TAGAR #SEMUAHARUSVAKSIN DI MEDIA SOSIAL TWITTER ]]>
<![CDATA[Siti Khoerun nisa]]>;
<![CDATA[Retno Purwani Sari]]>
<![CDATA[ MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya Vol 1 No 2 (2021): Oktober 2021 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya, Universitas Komputer Indonesia ]]>
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DOI: 10.34010/mhd.v1i2.5307
<![CDATA[ABSTRACT The presence of social media has become one of the tools that can be used by the public to express their opinions regarding the phenomena that occur around them. One of these forms of opinion delivery was conveyed during a pandemic which required all elements to inform each other of the importance in maintaining health protocols and vaccination programs. Twitter with its hashtag feature allows the public to disseminate information about vaccinations and massive invitations to the public. Due to the increasingly massive use of social media to deliver the messages, this study analyzes languages involving in the hashtag #semuaharusvaksin to prove that they must convey specific function to play in digital social interaction. It describe the types of language functions based on Jakobson’s theory. This method used was descriptive qualitative. The data collection used documentation techniques, then the writer observed the utterances of netizens so that a comprehensive analysis were produced. The language functions found are referential, conative, conative-referential and phatic-referential functions. These findings may facilitate public knowledge to respond the tweet properly.]]>
<![CDATA[ANALISIS MAKNA DENOTASI PADA FITUR "MENDENGARKAN SECARA OFFLINE" DI APLIKASI SPOTIFY ]]>
<![CDATA[Nadia Gameta Seba]]>;
<![CDATA[Asih Prihandini]]>
<![CDATA[ MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya Vol 1 No 2 (2021): Oktober 2021 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya, Universitas Komputer Indonesia ]]>
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DOI: 10.34010/mhd.v1i2.5379
<![CDATA[In this modern era, many people from various backgrounds listen to music through digital album applications. This study was made to analyze one of the features of digital music applications that have many listeners in various parts of Indonesia. This study aims to describe the meaning of the denotation "Mendengarkan Secara Offline" on the feature in the Spotify application. In this study, a descriptive qualitative approach was used to reveal the meaning of the denotation "Mendengarkan Secara Offline". The technique of data collection was done by using sentence analysis. This study concludes that the denotation meaning of "Mendengarkan Secara Offline" feature in the Spotify application means that music in online music applications can be listened while being offline. It can be listened without having an internet connection. The music could be saved using any storage in the phone's memory. "Mendengarkan Secara Offline" feature allows the users listen to music easily and it offers convenience to users listen to music freely.]]>
<![CDATA[PERGESERAN TERJEMAHAN DALAM WEBSITE RUANG GURU CAREER ]]>
<![CDATA[Ina Siti Aisah]]>;
<![CDATA[Retno Purwani Sari]]>
<![CDATA[ MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya Vol 2 No 1 (2022): April 2022 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya, Universitas Komputer Indonesia ]]>
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DOI: 10.34010/mhd.v2i1.5381
<![CDATA[Maintaining a meaning, a translator often performs some shifts to adjust the grammar rules and equivalents. As unavoidable acts, the translation shifts represent different cultures and different thoughts that represent in both grammatical rules of languages involved. According to Catford (1965) shifts are consists of two parts, namely level shift (Level Shift) and category shift (Category Shift). In this study, some analysis using Catford's theories were put to analyze the translation shifts occurred in the official Ruangguru career website. Identifying types of shifts was the main focus. The study method used was a comparative-descriptive-qualitative approach. The results obtained in this study are 30% (thirty percent) unit shifts, 40% (forty percent) structure shifts, and 30% (thirty percent) Intra-System Shifts. Shifts in translation occur due to adjustments to the translation caused by differences in grammatical rules. From the analysis of the shifts carried out, three types of shifts were found in the translation. These shifts are shifts in units, shifts in structure, and shifts in intra-systems. Skills on applying the shift rules may assist a translator to have the best translation equivalence. Keywords: Translation, Translation shift, Category shift, Ruangguru Career]]>
<![CDATA[ANALISIS INTERPERSONAL MEANING PADA TUTURAN TOKOH MARCUS DALAM SHORT FILM "LOOP" ]]>
<![CDATA[Puteri Cindy Canadia]]>;
<![CDATA[Muhammad Rayhan Bustam]]>
<![CDATA[ MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya Vol 1 No 2 (2021): Oktober 2021 ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya, Universitas Komputer Indonesia ]]>
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DOI: 10.34010/mhd.v1i2.5390
<![CDATA[The short film “Loop†tells the story of two children named Marcus and Renee who have differences in interacting with other people. Marcus is a boy who talks a lot. In Marcus's utterance, there is interpersonal meaning that can have an interaction impact that connects him with Renee who is a person with autism. This study explains how interpersonal meaning and categories of mood as well as speech functions are used in the utterance of Marcus in the short film "Loop". In this research, the method used is descriptive qualitative method. Data collection techniques in this study were carried out by observation and documentation to show the interpersonal meaning and categories of mood as well as speech functions used in the utterance of Marcus' character. The results of this study indicate that there are three categories of mood and speech functions found in Marcus's utterance which he uses to interact with Renee. By analyzing interpersonal meaning in utterance, it can help to recognize that everyone has different ways of interacting with other people.]]>
