cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Muizzu Nurhadi
Contact Email
muizzu@untag-sby.ac.id
Phone
+6231-5931800
Journal Mail Official
uncollcs@untag-sby.ac.id
Editorial Address
Fakultas Ilmu Budaya, Sastra Inggris, Universitas 17 Agustus 1945 Surabaya Jl. Semolowaru No. 45 Phone 0315931800 (Ext 89)
Location
Kota surabaya,
Jawa timur
INDONESIA
Proceeding of Undergraduate Conference on Literature, Linguistic, and Cultural Studies
Published by Universitas 17 Agustus 1945 Surabaya
ISSN : -     EISSN : 29859476     DOI : https://doi.org/10.30996/uncollcs.v2i1
Core Subject : Humanities, Education,
Humanities Education Languange, Linguistic, Communication & Media
Proceeding of Undergraduate Conference on Literature, Linguistic, and Cultural Studies is a peer-reviewed proceeding, open access, and annual academic proceeding dedicated to the publications of research in the areas of linguistics, literature, and culture studies that had been disseminated in the conference held by Fakultas Ilmu Budaya, Universitas 17 Agustus 1945.
Arjuna Subject : Seni dan Humaniora - Sastra dan Teori Sastra
Articles 237 Documents
 20   21   22   23   24 
Flouting Maxim in Leave the World Behind Movie Analysis Rosita Fadillah; Dona Rahayu Sugiharti
Proceeding of Conference on Literature, Linguistic, and Cultural Studies Vol. 6 No. 1 (2026): Vol. 6 No. 1 (2026): UNCOLLCS: PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND
Publisher : Fakultas Ilmu Budaya Universitas 17 Agustus 1945 Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/pcllcs.v6i1.7056

Abstract

This study aims to analyze the types of flouting maxims found in the film Leave the World Behind (2023) and to identify the most dominant type. This study applies the Cooperative Principle proposed by Grice (1975), focusing on the flouting of four types of conversational maxims, namely flouting of quantity, flouting of quality, flouting of relation, and flouting of manner. This study uses a descriptive qualitative method. The data consist of utterances taken from the dialogues of the film, collected through observation and documentation techniques, which involved watching the film, reading the dialogue transcript, identifying utterances that contain flouting maxims, and classifying them according to Grice’s theory. The findings show that there are 27 instances of flouting maxims in the film, flouting of quantity accounts for 8 data (29.63%), flouting of quality for 4 data (14.81%), flouting of relation for 14 data (51.85%), and flouting of manner for 1 data (3.70%). Based on the finding the most dominant flouted maxim is relation. The implicatures generated from these flouted maxims reveal that the characters frequently use indirect speech to express rejection, concealment of information, frustration, suspicion, and fear.
ELLA DURRAN'S SELF-FORMATION IN JULIA WHELAN'S MY OXFORD YEAR Rafi Husain; Adelie Grace Marianne litaay
Proceeding of Conference on Literature, Linguistic, and Cultural Studies Vol. 6 No. 1 (2026): Vol. 6 No. 1 (2026): UNCOLLCS: PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND
Publisher : Fakultas Ilmu Budaya Universitas 17 Agustus 1945 Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/pcllcs.v6i1.7057

Abstract

This article analyzes the self-formation of Ella Durran in Julia Whelan's My Oxford Year (2018) through Anthony Giddens' Reflexive Project of the Self. Using Giddens' framework from Modernity and Self-Identity (2020), the study examines how Ella constructs, disrupts, and revises her self-narrative through romantic experience. The study addresses three research questions: (1) How does romantic love initiate Ella Durran's self-formation? (2) How does suffering through love deepen Ella's personal growth? (3) How does love's loss complete Ella's transformation into a fully formed self? Giddens argues that in late modernity the self is not a fixed entity but an ongoing reflexive project, sustained through a continuously revised biographical narrative. The qualitative close reading and thematic coding of the primary text reveal that Ella's trajectory follows three interlocking phases of self-formation. In the first phase, her encounter with Jamie Davenport functions as a fateful moment that disrupts her defended, future-oriented identity. In the second phase, loving Jamie through his terminal illness generates existential confrontation with risk and mortality, producing the forms of self-knowledge that Giddens identifies as products of genuine reflexivity. In the third phase, her confrontation with the certainty of loss and her active decision to stay in Oxford constitute the reconstruction of a new self-narrative grounded in lived experience rather than inherited planning. The findings demonstrate that My Oxford Year enacts Giddens' reflexive model with formal coherence.
Contrasting Journeys of Growth: A Study of Bildungsroman in Jenny Han's We'll Always Have Summer Aurellia Salsabila; Y. B. Agung Prasaja
Proceeding of Conference on Literature, Linguistic, and Cultural Studies Vol. 6 No. 1 (2026): Vol. 6 No. 1 (2026): UNCOLLCS: PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND
Publisher : Fakultas Ilmu Budaya Universitas 17 Agustus 1945 Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/pcllcs.v6i1.7058

Abstract

This study examines the concept of Bildungsroman in Jenny Han's We'll Always Have Summer (2011). Bildungsroman is a literary genre that tells the story of a young person's development from youth into adulthood. This study focuses on two main characters, Belly Conklin and Jeremiah Fisher, analyzed through Female Bildungsroman theory and Anti-Bildungsroman theory respectively. Using qualitative research with a psychological approach, this study analyzes textual data comprising words, sentences, dialogues, and events in the novel. The findings reveal two contrasting paths of personal development. Belly's story exemplifies successful growth and maturity consistent with Female Bildungsroman, while Jeremiah's story illustrates incomplete personal development characteristic of Anti-Bildungsroman. Together, these characters demonstrate that true maturity comes from the ability to learn from experience and develop self-understanding. This study concludes that the Bildungsroman framework effectively explains contrasting processes of character development, revealing how emotional experiences, identity formation, and personal choices shape characters' journeys toward or away from maturity.
Cultural Identity and Digital Media Representation: A Study of Dev Anderson and Willow Williams in Simone Soltani's Cross the Line Ahsan Dimasius; Y. B. Agung Prasaja
Proceeding of Conference on Literature, Linguistic, and Cultural Studies Vol. 6 No. 1 (2026): Vol. 6 No. 1 (2026): UNCOLLCS: PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND
Publisher : Fakultas Ilmu Budaya Universitas 17 Agustus 1945 Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/pcllcs.v6i1.7059

Abstract

This study examines the role of digital media in identity construction as represented in Simone Soltani's Cross the Line (2024), analyzed through Stuart Hall's Cultural Identity Theory. Employing a qualitative descriptive design with a literary and cultural studies approach, the research addresses three questions: what forms of identity construction appear in the novel, what factors shape identity construction in the digital era, and what impacts identity construction produces on the characters. Data collection produced a structured tabulation of all 335 pages of the novel, organized into clusters recording quotations, meanings, and interpretations. The analysis confirms that all seven forms of identity synthesized from Hall's theory being, becoming, representation, discursive, multiple, fragmented, and constantly negotiated are represented through the experiences of the two protagonists, Dev Anderson and Willow Williams. Seven identity-shaping factors are likewise confirmed, with media and digital representation emerging as the most distinctive force in the narrative. The impacts of identity construction are categorized into psychological, professional, and relational-social dimensions. The findings suggest that in the digital era, a person's identity is no longer separable from how they are represented online, and that protecting one's digital representation has become inseparable from protecting who one is allowed to be.
A CRITICAL DISCOURSE ANALYSIS OF GENDER IDEOLOGY IN FEMININE, MASCULINE, AND UNISEX FASHION BRAND SLOGANS USING FAIRCLOUGH'S THREE-DIMENSIONAL MODEL Rifki Juniar; Eka Fadilah
Proceeding of Conference on Literature, Linguistic, and Cultural Studies Vol. 6 No. 1 (2026): Vol. 6 No. 1 (2026): UNCOLLCS: PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND
Publisher : Fakultas Ilmu Budaya Universitas 17 Agustus 1945 Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/pcllcs.v6i1.7060

Abstract

. This study investigates gender ideology in feminine, masculine, and unisex fashion brand slogans using Norman Fairclough's Three-Dimensional Critical Discourse Analysis (CDA) model. It aims to identify the linguistic features used in the slogans, analyse students' interpretations of the slogans, and describe the gender ideologies the slogans reflect. Using a descriptive qualitative approach, the study analyses nine purposively selected fashion brand slogans representing feminine, masculine, and unisex branding, complemented by open-ended questionnaire data from twenty English Literature students at Universitas 17 Agustus 1945 Surabaya. The findings show that the slogans employ lexical choices, grammatical structures, metaphors, pronouns, evaluative adjectives, and gendered nouns to construct ideological meanings related to gender identity and consumer culture. Unisex slogans favour universal, inclusive expressions that promote equality and gender neutrality; feminine slogans foreground empowerment, inclusivity, and emotional authenticity; and masculine slogans construct masculinity through prestige, individuality, freedom, and sophistication. Students critically evaluated these representations of inclusivity and gender ideology, indicating that fashion brand slogans function as ideological discourse that reflects and reproduces broader social values regarding gender representation and consumer culture in contemporary society.
Female Voices in Creatalks Entertainment Youtube Channel I Putu Nanda Sheila Yudha; Stephen albert Waworuntu; Muizzu Nurhadi; Llilyanti Ina Bora; Steven Erduadus
Proceeding of Conference on Literature, Linguistic, and Cultural Studies Vol. 6 No. 1 (2026): Vol. 6 No. 1 (2026): UNCOLLCS: PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND
Publisher : Fakultas Ilmu Budaya Universitas 17 Agustus 1945 Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/pcllcs.v6i1.7061

Abstract

This study examines how such voices are produced, circulated, regulated, represented, and given collective identity on the Creatalks Entertainment YouTube channel, using Stuart Hall's Circuit of Culture as its analytical framework. The Circuit of Culture conceives meaning-making as a continuous cycle linking five interdependent moments: production, consumption, regulation, representation, and identity. This study uses a qualitative case-study approach based on textual and thematic analysis of selected Creatalks episodes and their surrounding platform activity, this research finds that the channel's female narratives are shaped by a produsage-based production model, algorithm-sensitive platform governance, cultural and religious norms specific to the Indonesian context, dramatized modes of representation that reframe stigmatized experiences as public discourse, and a distinct audience identity built around empathy and communal acceptance. These five dimensions do not operate in isolation: production strategies invite audience participation, consumption practices generate diverse and at times conflicting interpretations, regulatory pressures negotiate between platform rules and local socio-religious values, representational choices reshape the visibility of taboo subjects, and identity formation consolidates a supportive audience community around the channel. The findings suggest that Creatalks functions less as a passive broadcaster of women's stories and more as an active cultural site where female voice, agency, and marginality are continuously negotiated among producers, platforms, and audiences. This study contributes to a broader understanding of how digital platforms in non-Western contexts mediate gender, stigma, and empowerment, and offers a basis for future research on audience reception and the ethics of presenting sensitive personal content online.
Alan Wake's Anxiety In Rick Burroughs' Alan Wake Amelia Wahyu Larasati; Anik Cahyaning Rahayu
Proceeding of Conference on Literature, Linguistic, and Cultural Studies Vol. 6 No. 1 (2026): Vol. 6 No. 1 (2026): UNCOLLCS: PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND
Publisher : Fakultas Ilmu Budaya Universitas 17 Agustus 1945 Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/pcllcs.v6i1.7062

Abstract

Anxiety disorders affect approximately 284 million people worldwide, yet the condition is frequently misread by sufferers as ordinary stress, delaying intervention until it compromises identity and relationships. This study analyzes the anxiety of Alan Wake, the protagonist of Rick Burroughs’ 2010 novel, using Sigmund Freud’s psychoanalytic theory to explore the mechanics of the ego's collapse under sustained threat. The objective is to describe the symptoms, causes, and effects of Alan’s anxiety to demonstrate it as a legitimate psychological condition. Employing a qualitative descriptive method and close reading, the study identifies three dimensions of anxiety. Findings reveal that symptoms manifest through visceral physical collapse, emotional distortions blurring reality and dreams, and behavioral paralysis—specifically a writer's block predating the novel's supernatural crisis by two years. Three interlocking forces drive this anxiety. the inescapable Dark Presence, the psychologically contagious Taken, and the moral guilt regarding his wife Alice’s disappearance, mapping onto Freud's realistic, neurotic, and moral anxiety respectively. The cumulative effects are total, including a fractured identity where Alan becomes a "stranger wearing his own name," chronic exhaustion, and a final state of learned helplessness. The study concludes that Alan Wake serves as a psychologically grounded portrait of what it means to face fear with no way out.

Page 24 of 24 | Total Record : 237

 20   21   22   23   24 

Filter by Year

2022 2026


Reset
Filter By Issues
All Issue Vol. 6 No. 1 (2026): Vol. 6 No. 1 (2026): UNCOLLCS: PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND Vol. 5 No. 1 (2026): Proceeding of Conference on Literature, Linguistic, and Cultural Studies: ICONE Vol. 4 No. 1 (2025): UNCOLLCS: PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND CULTURAL STUDIES Vol. 3 No. 1 (2024): UNCOLLCS: PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND CULTURAL STUDIES Vol. 2 No. 1 (2023): PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND CULTURAL STUDIES Vol. 1 (2022): Proceeding of Undergraduate Conference on Literature, Linguistic, and Cultural Studie