Jurnalistrendi: Jurnal Linguistik, Sastra dan Pendidikan
Jurnalistrendi: Jurnal Linguistik, Sastra, dan Pendidikan, diterbitkan oleh Prodi Pendidikan Bahasa Indonesia FKIP Universitas Nahdlatul Wathan Mataram, bertujuan untuk menerbitkan berbagai laporan penelitian, studi literatur dan tulisan ilmiah tentang fonetik, fonologi, morfologi, sintaksis, analisis wacana, pragmatik, antropolinguistik, bahasa dan budaya, dialektologi, dokumentasi bahasa, linguistik forensik, linguistik sejarah komparatif, linguistik kognitif, linguistik komputasional, linguistik korpus, neurolinguistik, pendidikan bahasa, penerjemahan, perencanaan bahasa, psikolinguistik, sosiolinguistik, sastra modern dan daerah, sastra lisan, sastra anak, pembelajaran bahasa dan sastra, pengembangan media dan metode pembelajaran bahasa Indonesia dan inggris. Terbit secara berkala dua kali setahun pada bulan April dan November. Setiap artikel yang dimuat di Jurnalistrendi: Jurnal Linguistik, Sastra dan Pendidikan melalui proses reviwu yang mendalam. Penulis diundang untuk mengirimkan naskah yang termasuk dalam ruang lingkup Kajian linguistik, sastra dan pendidikan Bahasa Indonesia serta Inggris. Silakan baca informasi tentang proses peer-review . Artikel yang diterbitkan di Jurnalistrendi: Jurnal Linguistik, Sastra dan Pendidikan akan melalui proses peer-review double-blind. Oleh karena itu, keputusan diterima atau tidaknya artikel ilmiah tersebut menjadi hak Dewan Redaksi berdasarkan rekomendasi dari peer reviewer.
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<![CDATA[Relasi Manusia dan Lingkungan dalam Semasa Kecil di Kampung Karya Muhammad Radjab: Ekologi Sastra ]]>
<![CDATA[Amiruddin, Nurul Azisyah Amini]]>;
<![CDATA[Karman, Andi]]>;
<![CDATA[Aslan, Aslan]]>;
<![CDATA[Usman, Usman]]>
<![CDATA[ JURNALISTRENDI : JURNAL LINGUISTIK, SASTRA, DAN PENDIDIKAN Vol 11 No 2 (2026) ]]>
Publisher : <![CDATA[Universitas Nahdlatul Wathan Mataram ]]>
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DOI: 10.51673/jurnalistrendi.v11i2.2772
<![CDATA[Literary studies that highlight the relationship between humans and the environment are essential for understanding how ecological values are represented and passed down through literary texts. This study aims to analyze the representation of the relationship between humans and the environment in *Semasa Kecil di Kampung* through the lens of literary ecology. The study employs a qualitative approach using content analysis of the text, utilizing the ecocritical framework proposed by Glotfelty, Garrard, and Buell, which views nature as an active element in the construction of meaning. The results of the study indicate that the relationship between humans and the environment is represented through two main categories: cosmic ecology and spatial ecology. Cosmic ecology portrays human life as part of the universe’s cycle, encompassing birth, death, and the interpretation of natural phenomena as a cosmological order imbued with moral and spiritual significance. Meanwhile, spatial ecology portrays the natural environment as a place, dwelling, and wilderness that shapes the characters’ identities, social structures, and inner consciousness through spaces such as valleys, rivers, forests, and hills. This study concludes that the work represents nature not as a passive backdrop, but as an active ecological element that reflects the local wisdom of the Minangkabau people in building a harmonious relationship between humans and the environment.]]>
<![CDATA[Perbandingan Prosodi Semantis Kata “Kiai” pada Media Independen dan Media Keagamaan dalam Pemberitaan Pesantren Bulan Oktober 2025 ]]>
<![CDATA[Yusgiantara, Aril Tri]]>;
<![CDATA[Rahmah, Dilla Atqia]]>;
<![CDATA[Al Hasan, Haikal Albin]]>;
<![CDATA[Rania, Zalfa]]>
<![CDATA[ JURNALISTRENDI : JURNAL LINGUISTIK, SASTRA, DAN PENDIDIKAN Vol 11 No 2 (2026) ]]>
Publisher : <![CDATA[Universitas Nahdlatul Wathan Mataram ]]>
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DOI: 10.51673/jurnalistrendi.v11i2.2798
<![CDATA[Penelitian ini bertujuan menganalisis perbedaan prosodi semantis kata kiai dalam pemberitaan pesantren pada media independen dan media keagamaan selama Oktober 2025. Penelitian ini dilatarbelakangi oleh meningkatnya perhatian publik terhadap pesantren pascaperistiwa ambruknya Ponpes Al-Khoziny di Sidoarjo yang memicu diskursus mengenai tata kelola Lembaga serta otoritas figur kiai di ruang publik. Dalam konteks tersebut, media tidak hanya menyampaikan informasi, tetapi juga membangun representasi melalui pilihan leksikal yang mencerminkan editorial masing-masing. Penelitian ini menggunakan pendekakatan kualitatif deskriptif yang dipadukan dengan analisis linguistik korpus berbasis frekuensi, kolokasi, dan konkordansi menggunakan perangkat Sketch Engine. Data diperoleh dari empat media daring, yaitu Tempo.co dan Kompas.com sebagai media independen (157 artikel; 88.004 token; 188 kemunculan kata kiai 1,756.58 PMW), serta Kementerian Agama RI dan NU Online sebagai media keagamaan (119 artikel; 73.796 token; 103 kemunculan kata kiai 1,168.28 PMW). Analisis dilakukan identifikasi kolokat berdasarkan nilai Mutual Information (MI) serta penelusuran konteks kemunculan (KWIC) untuk menentukan kecenderungan prosodi positif, negatif, dan netral. Hasil Penelitian menunjukkan adanyan perbedaan dalam konstruksi prosodi semantis. Media keagamaan didominasi prosodi semantis positif sebesar 73% melalui kolokasi seperti, keteladanan, ilmu, dan mengajarkan yang menempatkan kiai sebagai figur pendidik. Sebaliknya, media independen menunjukkan distribusi lebih beragam dengan dominasi prosodi netral sebesar 42% dengan kolokat evaluatif. Temua ini menegaskan bahwa orientasi editorial berpengaruh terhadap representasi kiai dalam wacana media digital serta memperkuat relevansi kajian prosodi semantis dalam analisi media keagamaan.]]>
<![CDATA[Patriarki yang Berempati, Perempuan yang Merespons: Asimetri Tutur dalam Lagu-Lagu Duet Rhoma Irama ]]>
<![CDATA[Ashari, Dwi Firli]]>;
<![CDATA[Halawa, Ernimawati]]>;
<![CDATA[Nurhayati, Eti]]>;
<![CDATA[Herawati, Herawati]]>
<![CDATA[ JURNALISTRENDI : JURNAL LINGUISTIK, SASTRA, DAN PENDIDIKAN Vol 11 No 2 (2026) ]]>
Publisher : <![CDATA[Universitas Nahdlatul Wathan Mataram ]]>
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DOI: 10.51673/jurnalistrendi.v11i2.2837
<![CDATA[Penelitian ini menganalisis konstruksi gender dan relasi kuasa dalam empat lagu duet Rhoma Irama, yaitu “Mandul” (1974), “Cuma Kamu” (1976), “Malam Terakhir” (1972), dan “Pertemuan” (1995), dengan menggunakan pendekatan Analisis Wacana Kritis (AWK) model Sara Mills. Kerangka analisis Mills digunakan untuk menelaah posisi subjek-objek, posisi pembaca/pendengar, serta implikasi sosial yang terkandung dalam lirik lagu-lagu tersebut. Hasil penelitian menunjukkan bahwa keempat lagu secara konsisten menempatkan laki-laki sebagai subjek dominan yang mengontrol narasi, sementara perempuan diposisikan sebagai objek pasif yang bergantung pada keputusan dan otoritas laki-laki. Dalam “Mandul”, kemandulan dikonstruksi sebagai beban perempuan dan empati laki-laki berfungsi sebagai bentuk “pengampunan” patriarki. Dalam “Cuma Kamu”, ketergantungan emosional dinormalisasi tanpa memberi ruang bagi suara perempuan. Lagu “Malam Terakhir” menampilkan laki-laki sebagai pengendali momen perpisahan, sedangkan perempuan hanya menerima dan menurut. Dalam “Pertemuan”, meskipun liriknya menggambarkan kerinduan bersama, posisi perempuan tetap pasif dan ditentukan oleh narasi laki-laki. Secara keseluruhan, lagu-lagu duet Rhoma Irama mereproduksi dan memperkuat ideologi patriarki melalui musik dangdut sebagai medium budaya populer yang memiliki jangkauan luas di masyarakat Indonesia.]]>
<![CDATA[Taboo Language in Political Discussions in X (Twitter) ]]>
<![CDATA[TING, Su-Hie]]>;
<![CDATA[Hanis, Amanda Christy]]>;
<![CDATA[Raslie, Humaira]]>
<![CDATA[ JURNALISTRENDI : JURNAL LINGUISTIK, SASTRA, DAN PENDIDIKAN Vol 11 No 2 (2026) ]]>
Publisher : <![CDATA[Universitas Nahdlatul Wathan Mataram ]]>
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DOI: 10.51673/jurnalistrendi.v11i2.2839
<![CDATA[The study examined the use of taboo language in political discourse on X (Twitter). The objectives of the study are to: (1) identify the Malay and English taboo words used in political discourse on Twitter, and (2) analyze the function of using Malay and English in political discourse on X. The descriptive study involved the collection of posts from X using the search words “politics” from 1 June 2022 to 31 August 2022 and with geotagging for “Malaysia”. A total of 126 tweets containing 202 posts with taboo words were identified. The analysis showed that the most common type of taboo words is insult and slur (59), followed by cursing (50) and epithets (49). There were less words on obscenity (14), vulgarity (13), slang (9), and scatology (8). No taboo words related to profanity and blasphemy were found. For the function of taboo words, the main function is discrediting other people or ideas (108). The X user used taboo words for other functions less frequently, namely, catharsis (46), strong interpersonal identification (39), attention-getting (7), and provoking of violent confrontation (2). A bigger range of taboo words in English was found for vulgarity and scatology but more taboo words in Malay were found for insult and slur, curse words, epithets, obscenity, and slang. The findings indicate respect for religious and ethnic sensitivities through the absence of blasphemy and profanities.]]>
<![CDATA[POLA FREKUENSI DAN INTENSITAS KALIMAT TANYA BAHASA JERMAN SEBAGAI PENENTU PERBEDAAN KARAKTERISTIK SUARA GENDER PADA BRANDED CONTENT EDEKA ]]>
<![CDATA[Asokawati, Yoanita Aprilia]]>;
<![CDATA[Ridwan, Agus]]>
<![CDATA[ JURNALISTRENDI : JURNAL LINGUISTIK, SASTRA, DAN PENDIDIKAN Vol 11 No 2 (2026) ]]>
Publisher : <![CDATA[Universitas Nahdlatul Wathan Mataram ]]>
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DOI: 10.51673/jurnalistrendi.v11i2.2859
<![CDATA[Penelitian ini bertujuan untuk mendeskripsikan pola frekuensi dan intensitas kalimat tanya dari dua gender yang berbeda, yaitu laki-laki dan perempuan. Kalimat tanya yang diperoleh melalui sumber data branded content berbahasa Jerman yang terdapat pada kanal resmi EDEKA. Metode penelitian ini menggunakan pendekatan campuran antara kualitatif dan kuantitatif. Penelitian ini juga menggunakan pendekatan instrumental, yang memanfaatkan PRAAT untuk menganalisis frekuensi fundamental dan intensitas pada suara kedua gender tersebut. Data dipilih melalui purposive sampling berdasarkan adanya kalimat tanya, kejelasan vokal, dan perbedaan gender penutur rekaman video EDEKA. Nilai frekuensi fundamental pada laki-laki umumnya sebesar sekitar 120 Hz dan nilai frekuensi fundamental pada perempuan sebesar sekitar 210 Hz. Pada hasil analisis, terdapat penutur laki-laki memiliki nilai frekuensi dengan rerata di bawah 150 Hz, sedangkan penutur perempuan memperoleh nilai frekuensi fundamental dengan rerata di atas 200 Hz. Meskipun demikian, nilai intensitas rerata antara penutur laki-laki tidak berbeda jauh dengan intensitas penutur perempuan. Dengan hasil tersebut penelitian ini dapat mengindikasikan adanya perbedaan pola linguistik antara kedua gender tersebut. Studi ini memberikan wawasan baru tentang kajian fonetik dalam analisis prosodi khususnya pada pengukuran frekuensi dan intensitas pada kalimat tanya bahasa Jerman dalam konteks branded content berbahasa Jerman.]]>
<![CDATA[Analisis Taksonomi Kategori Linguistik dalam Tataran Wacana pada Caption Instagram @lambegosiip ]]>
<![CDATA[Anggraini, Dewi]]>;
<![CDATA[Putri, Jesi Idona Prasetia]]>;
<![CDATA[Suryadi, Edi]]>
<![CDATA[ JURNALISTRENDI : JURNAL LINGUISTIK, SASTRA, DAN PENDIDIKAN Vol 11 No 2 (2026) ]]>
Publisher : <![CDATA[Universitas Nahdlatul Wathan Mataram ]]>
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DOI: 10.51673/jurnalistrendi.v11i2.2883
<![CDATA[Perkembangan media sosial, khususnya Instagram, menjadikan caption sebagai bentuk wacana yang penting dalam penyampaian informasi dan pembentukan makna. Penelitian ini bertujuan untuk menganalisis kesalahan kohesi dan koherensi dalam caption Instagram @lambegosiip berdasarkan taksonomi kategori linguistik. Metode yang digunakan adalah kualitatif dengan pendekatan deskriptif. Data berupa 13 caption yang diunggah pada 7–31 Maret 2026, dipilih melalui teknik purposive sampling. Pengumpulan data menggunakan metode dokumentasi, sedangkan analisis data dilakukan dengan model Miles dan Huberman. Hasil penelitian menunjukkan bahwa kesalahan berbahasa didominasi oleh aspek kohesi, seperti penggunaan bahasa tidak baku, kesalahan ejaan, pengulangan leksikal yang tidak efektif, serta ketidakkonsistenan referensi. Adapun kesalahan koherensi meliputi hubungan antargagasan yang kurang logis dan alur informasi yang tidak sistematis. Hal ini menunjukkan bahwa keterpaduan wacana dalam caption belum optimal sehingga berpotensi mengganggu kejelasan pesan. Implikasi penelitian ini menekankan pentingnya pemahaman kohesi dan koherensi dalam komunikasi digital guna meningkatkan efektivitas penyampaian informasi. Secara teoretis, penelitian ini berkontribusi pada kajian linguistik, khususnya analisis wacana digital, dengan menunjukkan bahwa bahasa media sosial bersifat fleksibel, namun tetap memerlukan keterpaduan wacana.]]>
<![CDATA[Representasi Sarkasme dalam Komunikasi Digital: Analisis Pragmatik pada Kolom Komentar TikTok @Chintyamelsan ]]>
<![CDATA[Wardana, Ardiyanti]]>;
<![CDATA[Saadillah, Andi]]>;
<![CDATA[Putra, Eko]]>;
<![CDATA[Alu, La]]>
<![CDATA[ JURNALISTRENDI : JURNAL LINGUISTIK, SASTRA, DAN PENDIDIKAN Vol 11 No 2 (2026) ]]>
Publisher : <![CDATA[Universitas Nahdlatul Wathan Mataram ]]>
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DOI: 10.51673/jurnalistrendi.v11i2.2891
<![CDATA[This study aims to identify the forms and analyze the functions of sarcasm in the TikTok comment section of the @Chintyamelsan account using a stylistic and pragmatic approach. The study employs a descriptive-interpretive qualitative method, with data consisting of comments containing sarcasm, collected through non-participant observation and documentation between January and December 2024. The data were analyzed using the interactive model by Miles, Huberman, and Saldaña through the stages of reduction, categorization, interpretation, and drawing conclusions. Theoretically, the analysis draws on Keraf’s stylistics theory, Grice’s conversational implicatures, and Searle’s speech acts. The research findings indicate that sarcasm manifests in the form of insults, mockery, indirect sarcasm, hyperbole, and derogatory comparisons, with a predominance of insults based on physical and social attributes. From a pragmatic perspective, sarcasm operates through violations of the maxims of quality and relevance, thereby generating an implicit meaning of negative evaluation. Furthermore, sarcasm is dominated by expressive speech acts and functions as an indirect directive to convey criticism. These findings indicate that sarcasm in digital communication serves not only as a stylistic device but also as a social strategy to belittle and discredit individuals. This study contributes to the development of linguistic research through the integration of stylistic and pragmatic approaches in the analysis of social media language.]]>
<![CDATA[Kemampuan Berpikir Kritis Mahasiswa Pendidikan Bahasa Indonesia dalam Menilai Teks Editorial ]]>
<![CDATA[Awan, Muh Rezki]]>;
<![CDATA[Kadirun, Kadirun]]>;
<![CDATA[Haeniah, Nurul]]>;
<![CDATA[Arliwan, Disa]]>
<![CDATA[ JURNALISTRENDI : JURNAL LINGUISTIK, SASTRA, DAN PENDIDIKAN Vol 11 No 2 (2026) ]]>
Publisher : <![CDATA[Universitas Nahdlatul Wathan Mataram ]]>
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DOI: 10.51673/jurnalistrendi.v11i2.2912
<![CDATA[This study aims to describe the critical thinking skills of students in the Indonesian Language Education Program at Sembilanbelas November University in Kolaka in evaluating editorial texts. The study employed a quantitative approach using a descriptive method. The sample consisted of 16 students from the 2024 Class B cohort, selected through purposive sampling based on academic considerations and relevance to the research objectives. Data collection was conducted using an essay test developed based on six indicators of critical thinking according to Facione, namely interpretation, analysis, evaluation, inference, explanation, and self-regulation. The research instrument was validated through expert judgment and analyzed using descriptive statistics in the form of mean scores and percentages. The results of the study indicate that students’ critical thinking skills fall into the moderate category with an average score of 64.58. Based on the category distribution, there were 3 students (19%) in the high category, 8 students (50%) in the moderate category, and 5 students (31%) in the very low category. Regarding the indicators, the highest abilities were in inference (79%) and analysis (78%) in the high category, while interpretation (56%) and explanation (56%) were in the low category. The self-regulation indicator received the lowest score of 50% in the very low category. Practically, this study implies the importance of developing reflection-based learning, argumentative discussions, and problem-based learning to enhance students’ metacognitive abilities. Theoretically, this study reinforces Facione’s concept of critical thinking, which posits that critical thinking skills are not only oriented toward analysis and inference but also require the strengthening of self-regulation as the core of the metacognitive process in the development of students’ critical reasoning.]]>
<![CDATA[Analisis Prakseologi Buku Ajar Bahasa Arab Madrasah Tsanawiyah Kelas IX ]]>
<![CDATA[Maulana, Abdul Azziz]]>;
<![CDATA[Khalid, Shofa Musthofa]]>
<![CDATA[ JURNALISTRENDI : JURNAL LINGUISTIK, SASTRA, DAN PENDIDIKAN Vol 11 No 2 (2026) ]]>
Publisher : <![CDATA[Universitas Nahdlatul Wathan Mataram ]]>
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DOI: 10.51673/jurnalistrendi.v11i2.2914
<![CDATA[Arabic textbooks play a crucial role in learning; however, improper material presentation and task design can trigger learning obstacles. Given the limited evaluation of textbooks using a praxeological approach, this study aims to analyze the ninth-grade Madrasah Tsanawiyah Arabic textbook published by the Directorate of KSKK of the Ministry of Religious Affairs of the Republic of Indonesia, as well as to identify the characteristics of Arabic task design from a praxeological perspective. This study employs a descriptive qualitative method with a library research design. The data were sourced from the tarkib (grammar) material in Chapter 1, which was analyzed using Yves Chevallard's praxeological framework through four components: task, technique, technology, and theory. The results indicate that the didactic design in this textbook features a structured development of the praxis dimension, but it does not align with the consistency of the logos dimension. Despite systematic instructional progress, the absence of definitive written instructions in the initial phase and the fluctuating presentation of theoretical foundations trigger various learning obstacles, including didactic, epistemological, and ontogenic obstacles. This gap causes students to lean toward mechanical pattern memorization without comprehensive logical understanding. Therefore, a stricter synchronization between task assignments and theoretical explanations is required from the very beginning of the material to ensure students' conceptual maturity in mastering Arabic grammar]]>
<![CDATA[Puisi Digital Generasi Z sebagai Praktik Multimodal di Media Sosial: Analisis Linguistik, Afektif, dan Interaksional ]]>
<![CDATA[Humairah, Nurul]]>;
<![CDATA[Yasa, I Nyoman]]>
<![CDATA[ JURNALISTRENDI : JURNAL LINGUISTIK, SASTRA, DAN PENDIDIKAN Vol 11 No 2 (2026) ]]>
Publisher : <![CDATA[Universitas Nahdlatul Wathan Mataram ]]>
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DOI: 10.51673/jurnalistrendi.v11i2.2918
<![CDATA[The rapid development of digital technology has significantly transformed literary practices, particularly in the way poetry is created and expressed by Generation Z. This study aims to examine the characteristics of digital poetry produced by Generation Z on social media using a multimodal approach. This research employs a qualitative descriptive method, with data collected from digital poems published on Instagram accounts @ruangtulisande_ and @almaneira. Data were obtained through digital observation and documentation techniques, and analyzed using multimodal analysis focusing on linguistic, visual-typographic, affective, and interactional aspects. The findings reveal that digital poetry demonstrates strong multimodal characteristics through the integration of text, visual presentation, emotional expression, and audience interaction. Linguistically, the poems reflect two dominant tendencies: existential self-reflection and intense interpersonal emotional expression. Visually, the poems adopt flexible and non-conventional structures that contribute to meaning-making. Affectively, they function as powerful media for emotional expression, while interactionally, social media platforms enable direct engagement between authors and audiences. In conclusion, digital poetry represents a transformation of contemporary literature, where meaning is constructed not only through language but also through multimodal elements and social interaction. This study highlights the relevance of multimodal analysis in understanding digital literary practices in the context of Generation Z culture]]>
