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Dwi Setiawan
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Kata Kita: Journal of Language, Literature, and Teaching
Published by Universitas Kristen Petra Surabaya
ISSN : -     EISSN : 25987801     DOI : 10.9744/katakita
Core Subject : Education,
Languange, Linguistic, Communication & Media
Kata Kita is a journal dedicated to the publication of students research in the areas of literature, language, and teaching. In the study of language, it covers issues in applied linguistics such as sociolinguistics, discourse analysis, critical discourse analysis, pragmatics, sylistics, corpus linguistics and others. In the area of literature, it covers modern and contemporary literature in English in the forms of printed, screened, aired or performed texts. In the field of teaching, it covers teaching materials and practices, especially those related to English Language Teaching.
Arjuna Subject : Seni dan Humaniora - Bahasa dan Linguistik
Articles 676 Documents
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The Horror of the “Better You”: Beauty Culture, Identity, and Feminist Horror in The Substance Michelle Kiara Boediman; Jenny Mochtar
Kata Kita: Journal of Language, Literature, and Teaching Vol. 14 No. 2 (2026)
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/katakita.14.2.234-240

Abstract

Coralie Fargeat’s The Substance (2024) is a bold, body-horror-infused exploration of what it means to be a woman aging under the glare of the public eye. The film follows Elisabeth Sparkle, a fading fitness icon who turns to a mysterious biotechnology promising youth, beauty, and a “better self.” What begins as transformation quickly collapses into self-destruction as Elisabeth’s younger clone, Sue, takes over her life. Through this grotesque evolution, The Substance dismantles the makeover narrative so familiar in popular cinema, the idea that physical transformation equals empowerment, and instead exposes its rot. This paper examines how The Substance rewrites beauty transformation tropes through horror, how this subversion fragments the identities of Elisabeth and Sue, and what the film ultimately reveals about societal pressures surrounding beauty, aging, and female selfhood. Drawing on genre theory, feminist film theory (particularly Laura Mulvey’s concept of the gaze), and cultural studies perspectives on beauty and postfeminism, I analyze how mise-en-scène and performance work together to visualize the horror of internalized beauty ideals. In doing so, I argue that The Substance transforms the makeover fantasy into a nightmare of self-surveillance, turning the pursuit of perfection into a literal act of bodily consumption. Through its shocking imagery and deliberate ambiguity, Fargeat’s film critiques a culture that commodifies women’s bodies, punishes them for aging, and disguises conformity as empowerment.
The Clash of Indian Cultural Identity in a European Environment in the Film Mrs. Chatterjee vs Norway MF. Rani Shinta Hapsari
Kata Kita: Journal of Language, Literature, and Teaching Vol. 14 No. 2 (2026)
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/katakita.14.2.175-182

Abstract

The film Mrs. Chatterjee vs Norway portrays the complexity of cultural clashes experienced by the Indian diaspora when confronted with the European legal system. This study aims at analyzing the representation of Indian and Norwegian cultural identity clashes and the process of self-negotiation experienced by the main character. Using a descriptive qualitative method with Stuart Hall's Cultural Identity theory as a lens of analysis on the concepts of identity as being and identity as becoming, this study dissects the narrative and cinematic elements of the film. The findings show that the character Mrs. Chatterjee initially maintained a strong identity as being through traditional cultural practices, which were later criminalized by Norwegian child welfare standards. This systemic pressure forces the character to transform towards identity as becoming by adopting Western assertiveness and legal logic to fight injustice, affirming that identity in the diaspora is a dynamic construction that is constantly negotiated amid unequal power relations.
A Speech Act Analysis of Harvey Specter’s Conversation with The Male Characters in Suits Kayne Hanson Laksmono
Kata Kita: Journal of Language, Literature, and Teaching Vol. 14 No. 2 (2026)
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/katakita.14.2.197-201

Abstract

Speech acts are the most basic element of linguistic study to communicate effectively since it conveys the true intention of a word or a message to the listener. Speech acts are also crucial parts in communication since it becomes the connector between the speaker and the listener. Speech acts help us to understand and interpret the true meaning of every utterance. This research mainly focuses on locutionary and illocutionary.  Utterances spoken by Harvey Specter to Louis Litt and Mike Ross in a Netflix series called Suits were qualitatively analyzed using types of speech acts, namely assertive, commissive, declarative, expressive, directive (Searle, 1969). In Harvey’s utterances to both male characters, the three types of speech acts are found.
Colonial Archive Gaps and Historical Trauma: Reading Krakatau 1883 and the Geger Cilegon 1888 in Postcolonial Consciousness Ubaidil Fithri; Ribut Basuki
Kata Kita: Journal of Language, Literature, and Teaching Vol. 14 No. 2 (2026)
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/katakita.14.2.282-292

Abstract

The 1883 Krakatoa Eruption and the 1888 Geger Cilegon represent two pivotal events in the colonial history of the Banten region. Nevertheless, within colonial historiography, these occurrences are predominantly depicted through administrative archives that prioritize geological aspects and political stability, often marginalizing local communities’ social and cultural experiences. This omission creates a gap in historical narratives that not only impairs our comprehension of the past but also influences the consciousness of postcolonial generations raised amidst distorted archival records. This article examines the role of colonial archives in fostering historical ignorance and trauma transmitted across generations. Employing a qualitative interpretive approach and the frameworks of postcolonial theory, transgenerational trauma, and the social construction of history, this article explores the interplay between archives, historical silences, and the formation of collective memory. The analysis reveals that the exclusion of local voices from colonial archives is not neutral; rather, it serves as an epistemic mechanism that perpetuates this disconnection. These findings underscore that postcolonial historical trauma is not solely inherited through direct memory but also through narrative voids and the inability of subsequent generations to access their history fully. This article contributes to cultural history and postcolonial studies by identifying archival voids as active elements that shape historical consciousness and postcolonial identity in Indonesia.
Figurative Language in Lana Del Rey’s and Taylor Swift’s Song Lyrics Isabela Aileen
Kata Kita: Journal of Language, Literature, and Teaching Vol. 14 No. 2 (2026)
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/katakita.14.2.191-196

Abstract

This study analyzes figurative language in two song albums: Born to Die (2012) by Lana Del Rey and reputation (2017) by Taylor Swift. Using Perrine’s (2017) theoretical framework, this qualitative research examines figurative devices found in selected song lyrics. The data consist of lyrics from both albums. The findings reveal that both artists use various types of figurative language, including simile, metaphor, personification, metonymy, symbol, allegory, paradox, overstatement, understatement, and irony. Lana Del Rey frequently uses symbolic and emotional imagery and often combines multiple figurative devices within a single line, while Taylor Swift emphasizes narrative clarity and emotional contrast. Apostrophe appears only in Lana Del Rey’s lyrics. The study also identifies mixed figurative types, with seven combinations in Lana Del Rey’s songs and six in Taylor Swift’s. Overall, figurative language in both albums strengthens themes, emotions, and storytelling.
Simon Cowell’s Compliments in American Idol, Season 8, Episode 1 Yuki Yoremasa Andrea
Kata Kita: Journal of Language, Literature, and Teaching Vol. 14 No. 2 (2026)
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/katakita.14.2.183-190

Abstract

This study examines the types and characteristics of compliments used by Simon Cowell in American Idol, Season 8, Episode 1. The study is based on the idea that compliments functioned not only to give a positive evaluation but also play an important role in media communication. This study aims to answer two research questions. Using a qualitative approach, all the data were collected from one specific YouTube video, including the whole video’s transcript, then analyzed using a theory of compliments by Alfonzetti (2013). Although Simon Cowell is recognized for his harsh criticism, this study focuses only on how he delivers compliments that shape society’s perception. The way he compliments the contestant has made his compliments more memorable and motivated the contestants. The study reveals that Simon Cowell uses both explicit and implicit compliments and demonstrates all five characteristics of compliments proposed by Alfonzetti (2013). 
The Portrayal of Class Struggle in Money Heist Jeremy Kayne Valiant; Setefanus Suprajitno
Kata Kita: Journal of Language, Literature, and Teaching Vol. 14 No. 2 (2026)
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/katakita.14.2.209-215

Abstract

ABSTRACT This study explores the portrayal of class struggle in Money Heist (2017) using Karl Marx’s (1848/1969) theory on class struggle. This study analyzes the series using a qualitative approach to uncover how the characters' backgrounds and actions reflect structural inequality within capitalist society. Key findings show that the characters experience precarity, exclusion, and lack of recognition that shape their struggles and decisions. The act of printing money at the Royal Mint is presented as a form of resistance against the state’s monopoly over value creation. The study also found collective resistance forming through the exposure of state violence and manipulation. This study concludes that Money Heist functions as a critique of capitalism, showing how marginalization can produce resistance under oppressive systems. This study concludes that Money Heist functions as a critique of capitalism, showing how marginalization can produce resistance under oppressive systems.
Nothing Lasts Forever: A Children Book About the Loss of Attachment Kevin Rahardja; Liem Satya Limanta
Kata Kita: Journal of Language, Literature, and Teaching Vol. 14 No. 2 (2026)
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/katakita.14.2.216-221

Abstract

The loss of an attachment figure, whether a person, pet, or place, is a profound challenge that destabilizes a child's sense of security. This paper explores the creation of Nothing Lasts Forever, a series of five picture books designed to help children navigate grief using magical realism and John Bowlby’s attachment theory. The work demonstrates that loss manifests functionally as protest (anger and denial) and despair (withdrawal), which are necessary distress signals. By utilizing a creative practice-based methodology, the project illustrates how a caregiver’s support as a "safe haven" and "secure base" allows children to form continuing bonds. Grounded in psychological principles, this series serves as a therapeutic tool for fostering emotional resilience.
The Swear Words Used by Gordon Ramsay in Hell's Kitchen Episode of Sushi Showdown Kristina Tedja; Jusuf Imam Ibrahim
Kata Kita: Journal of Language, Literature, and Teaching Vol. 14 No. 2 (2026)
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/katakita.14.2.222-227

Abstract

This study analyzes the swear words used by Gordon Ramsay in the Hell’s Kitchen episode titled Sushi Showdown. Using Battistella’s (2005) theory, this research identifies the types of swear words he uses, including epithets, profanity, vulgarity, and obscenity. The data were taken from Gordon Ramsay’s utterances during the cooking challenge in the episode and analyzed using a qualitative approach. This study also counts how many times each type of swear word appears. The research found that Gordon Ramsay used all types of swear words: Epithets, Profanity, Vulgarity, and Obscenity. However, the highest frequency is obscenity, such as fuck you, fuck me, fuck off. This “fuck” word is very common in English and is quite often used in daily interactions. In conclusion, Gordon Ramsay’s use of swear words in Sushi Showdown reflects his communication style in managing stress and authority in a professional kitchen. Rather than serving purely as insults, the swear words function to highlight mistakes, push performance, and maintain control during service. This research can be useful for students and future researchers who are interested in language use, swearing, and communication in TV shows.
Power Relations in Perpustakaan Ajaib Bibbi Bokken by Jostein Gaarder and Klaus Hagerup Nokiamy Sesena Tamba
Kata Kita: Journal of Language, Literature, and Teaching Vol. 14 No. 2 (2026)
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/katakita.14.2.228-233

Abstract

Young Adult (YA) literature is a relatively new genre in Indonesia. However, the development of YA literature in USA demonstrates that this popular genre is not merely entertaining but also possesses aesthetic value and the potential to address relevant sociocultural issues. One notable work reflecting the development of YA literature is Bibbi Bokken's Magic Library by Jostein Gaarder and Klaus Hagerup which was translated into Indonesian in 2016. The story is set in the world of libraries and not only entertains but also raises power dynamics through the interactions between two cousins, namely Nils and Berit. Therefore, this study aims to illustrate how power relations are depicted in the story and how the characters respond when confronted with these power relations. As the results, there are three types of power relations in the book using Michel Foucault's theory: power relations over discourse, thought, and discipline through literary culture.

Page 67 of 68 | Total Record : 676

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