Jurnal Ilmu Bahasa, Sastra dan Pengajarannya

STRUCTURAL STUDY AND MORAL VALUE IN THE NOVEL OMBAK SANDYAKALANIG BY TAMSIR AS

Agus Surachman — 2024-05-25

The purpose of this study is to describe the structure and moral values in the novel Ombak Sandyakalaning by Tamsir AS. Data were collected using the method of listening and recording. The researcher as a human instrument assisted by data cards. Data analysis used content analysis method. The results of the research on the structure of the novel Ombak Sandyakalaning by Tamsir AS consist of themes, story facts, and literary means. The theme of Ombak Sandyakalaning is Sabrang's cunning to get Nikmah. Story facts consist of characters and characterizations, plot and setting. The characters in Ombak Sandyakalaning are Darus, Nikmah, Rejeb, Nikmah's mother, Layarini, Rabun, Goan Jie, Sabrang, Tawi brewok, Kiman, Mr. Sulaiman, Mr. Suja'i. The plot of the novel Ombak Sandyakalaning uses a progressive plot. Broadly speaking, the plot in Ombak Sandyakalaning is divided into five parts, namely the introduction stage, the treatment, the rise, the climax stage, and the denouement. The setting of Ombak Sandyakalaning consists of: The time setting is afternoon, four years ago, evening, night, seven years, morning. The setting is in a boat, Sunglon, on an island full of rocks, the seabed. The social setting of Ombak Sandyakalaning deals with the lives of people on the coast who remain poor and miserable. Literary devices consist of title and point of view. The title of the novel is Ombak Sandyakalaning. The point of view is the third person all-knowing point of view. The point of view is the all-knowing third person point of view. The moral values in the novel Ombak Sandyakalaning include: being grateful for God's gifts, not accepting money from something that is not good, if you experience fear, call on the name of God, carrying out the mandate of parents.

STUDY OF THE FORM AND SYMBOLIC MEANING OF PALAKIYAH TRADITION IN WATULAWANG VILLAGE PEJAGOAN DISTRICT KEBUMEN REGENCY

Ayu Putri Rahmawati — 2024-05-25

The palakiyah tradition is one of the traditions in Watulawang Village, Pejagoan District, Kebumen Regency. This tradition is a custom that has been passed down to this day. The purpose of the palakiyah tradition is as a form of gratitude to the ancestors through the intermediary of prayers in the form of offerings addressed to God Almighty. This study aims to describe the form of implementation of the palakiyah tradition in Watulawang Village, Pejagoan District, Kebumen Regency and the symbolic meaning of ubarampe contained in the palakiyah tradition in Watulawang Village, Pejagoan District, Kebumen Regency. The method used in this research is descriptive qualitative. The data collection techniques used were participant observation, semi-structured interviews and documentation. The data validity used is source triangulation and method triangulation. The results of the study are the form of implementation in the palakiyah tradition in Watulawang Village, Pejagoan Subdistrict, Kebumen Regency including pre-implementation of the palakiyah tradition and implementation. The symbolic meaning of ubarampe contained in the palakiyah tradition in Watulawang Village, Pejagoan Subdistrict, Kebumen Regency is the symbolic meaning of offerings used such as kendhit goats which have two colors, black and white, resembling a belt symbolizing human harmony with nature and human purity, kemenyanan symbolizing the desire for prayers to be answered by intermediary ancestors.

VALUES IN THE BARIT COWONG TRADITION KARANGTURI VILLAGE KROYA DISTRICT CILACAP REGENCY

Eni Windi Sulastri — 2024-05-25

The Barit Cowong tradition Karangturi Village Kroya District Cilacap Regency is known as the Barit Cowong Sekar Kantil tradition, referring to the name of the cowong doll used, namely Sekar Kantil. This research aims to describe the values of the Barit Cowong Sekar Kantil tradition. This research is included in qualitative research. The research data is in the form of dialogue excerpts from interviews with informants and event excerpts from observations during the implementation of the Barit Cowong Sekar Kantil tradition. The data sources in this research are informants who know and play a direct role in the implementation of the Barit Cowong Sekar Kantil tradition, as well as photos, videos and documentation related to the Barit Cowong Sekar Kantil tradition. The data found was collected using open interview techniques, open observation, field notes, and documentation. Then it was analyzed using the interactive analysis technique of the Miles and Huberman model. The results of the analysis are presented informally using words. Words are used to explain the values of the Barit Cowong Sekar Kantil tradition. The results of the analysis of the Barit Cowong Sekar Kantil traditional values are that there are seven human values that are relevant to people's lives, namely economic values, physical values, entertainment values, social values, aesthetic values, intellectual values and religious values.

STRUCTURAL STUDY AND MORAL VALUES IN THE SHORT FILM LEMANTUN BY WREGAS BHANUTEJA

Eka Sulistiya — 2024-05-25

This study aims to describe the intrinsic elements contained in the short film Lemantun by Wregas Bhanuteja along with the moral values in the short film Lemantun by Wregas Bhanuteja. This research belongs to qualitative descriptive research. The research data is in the form of dialogue excerpts, sentences, and events contained in the short film Lemantun. The source of the data in this study is the short film Lemantun by Wregas Bhanuteja. Existing data were collected using listening techniques, listening techniques without being involved in events, and note-taking techniques. Then analysis using content analysis method. The results of the analysis are presented through words. Words are used to describe the intrinsic elements and moral values contained in the short film Lemantun by Wregas Bhanuteja. The results of the analysis of structural and moral values in the short film "Lemantun" found 4 themes (1 major theme and 3 minor themes), straight plot with 5 plot stages, 6 characters and 33 characterizations, 20 settings (14 places, 3 times, and 3 socio-cultural), and 13 good morals and 7 bad morals. Of the four intrinsic elements of the short film Lemantun by Wregas Bhanuteja, integration between these elements was found. Themes, plot, characterizations, and settings are interrelated and form a unified whole. The good morals and bad morals contained in the short film Lemantun by Wregas Bhanuteja are still relevant to people's lives today.

ANALYSIS OF DIRECTIVE SPEECH ACTS IN THE NOVEL RAYAP KAYU CENDHANA BY TULUS SETIYADI

Aisyah Anggraeni — 2024-05-25

This study aims to describe the types of directive speech acts and the function of directive speech acts found in the novel Rayap Kayu Cendhana by Tulus Setiyadi. This type of research is qualitative descriptive research. The data in the research are in the form of quotations from the novel Rayap Kayu Cendhana by Tulus Setiyadi. The data source in this research is the novel Rayap Kayu Cendhana by Tulus Setiyadi. The data collection technique in this research is by using library techniques and note-taking techniques. The instrument used is the author himself, assisted by using data recording cards, stationery, books and other supporting media as references. Data validity techniques use semantic validity and persistence of observation. Then the data analysis technique, researchers use content analysis techniques. Presentation of data analysis results using informal methods. The results of the analysis of directive speech acts in the novel Rayap Kayu Cendhana by Tulus Setiyadi are the types of directive speech acts and the function of directive speech acts. The results of the analysis include 9 directive speech acts including the directive speech acts of forcing 1 data, ordering 8 data, inviting 8 data, requesting 3 data, ordering 17 data, urging 1 data, requesting 5 data, suggesting 5 data, and suggesting 1 data. Of the 9 types of directive speech acts contained in the novel Rayap Kayu Cendhana by Tulus Setiyadi, each has the function of directive speech acts forcing, commanding, inviting, requesting, ordering, urging, pleading, suggesting, and challenging, each of which has a purpose. to carry out an action mentioned in the speech contained in it.