Jurnal Ilmu Bahasa, Sastra dan Pengajarannya

PERFORMANCE FORM ANALYSIS AND SYMBOLIC MEANING OF UBARAMPE JARAN KEPANG ART TURANGGA SAKTI SEMAWUNG VILLAGE PURWOREJO DISTRICT PURWOREJO REGENCY

2026-05-30T07:18:58+07:00

This research is motivated by the enduring existence of jaran kepang traditional art, which remains popular as a form of entertainment among the people of Purworejo and continues to develop in line with changing times. Although numerous studies on jaran kepang have been conducted, research specifically examining the performance structure, the symbolic meaning of ubarampe (ritual offerings), and the functions of the Turangga Sakti group in Semawung Village, Purworejo District, Purworejo Regency, is still limited. Therefore, this study aims to describe: (1) the performance form of the Turangga Sakti jaran kepang in Semawung Village, (2) the symbolic meaning of ubarampe in the performance, and (3) the functions of the Turangga Sakti jaran kepang art. This study employs a qualitative approach with a descriptive method. Data collection techniques include observation, interviews, and documentation. The research informants consist of the chairman, vice chairman, and senior members of the art group. Data analysis is conducted using descriptive qualitative techniques, while data validity is tested through triangulation. The results show that the jaran kepang performance of Turangga Sakti in Semawung Village consists of interconnected elements, including history, performers, shamans (pawang), singers (wiraswara and waranggana), performance time and place, musical instruments, makeup, costumes, dancer properties, and ubarampe or ritual offerings. These elements are harmoniously integrated, producing a structured and cohesive performance. The symbolic meaning of each ubarampe represents an expression of human gratitude to God Almighty. Furthermore, the functions of this art include a medium for self-expression, entertainment, education, cultural preservation, and community economic support.

APPLICATION OF THE WINDOW SHOPPING LEARNING MODEL ON PAWARTA MATERIAL TO IMPROVE THE WRITING SKILLS OF CLASS VIII STUDENTS AT SMPN 22 PURWOREJO

2026-05-30T07:19:08+07:00

This study aims to improve the news text (pawarta) writing skills of eighth-grade students at SMPN 22 Purworejo through the application of the window shopping learning model. The background of this research is the low writing skills of students, particularly in understanding the structure, elements, and proper use of the Javanese language. The method used in this study is Classroom Action Research (CAR) conducted in two cycles, each consisting of the stages of planning, action, observation, and reflection. The research subjects were 28 students. Data were obtained through observation, writing tests (pretest and posttest), and documentation, with instruments including observation sheets and a writing assessment rubric covering content completeness, text structure, language use, and creativity. The results of the study showed a significant increase in the average score from 59.1 in cycle I to 80.5 in cycle II, with more than 85% of students reaching the Learning Stage Mastery Criteria (KKTP). In addition to improving learning outcomes, this model encouraged active student participation in discussions, group collaboration, and the ability to give and receive feedback. The conclusion of this study emphasizes that the window shopping learning model is effective in improving students’ ability to write news texts, while also creating an interactive and collaborative learning atmosphere.

A PSYCHOLOGICAL ANALYSIS OF LITERATURE AND READERS OF THE NOVEL SEKAR RINONCE BY TULUS SETIYADI

2026-05-30T07:19:17+07:00

This study aims to describe the literary psychology (id, ego, superego) in Tulus Setiyadi’s novel Sekar Rinonce and the psychology of readers of Tulus Setiyadi’s novel Sekar Rinonce. Methodologically, this study is descriptive and qualitative. Data collection techniques include literature review and interviews. The research instruments were the researcher and the informants, with additional instruments consisting of data recording sheets and relevant literary study books. The data validity techniques used in this study were increased rigor and triangulation. The data analysis technique used content analysis. The data presentation technique used an informal method. The research findings regarding the literary psychology of the novel Sekar Rinonce by Tulus Setiyadi, examined through Sigmund Freud’s psychoanalytic theory of personality, are as follows: (a) the id in the character Yuli in Sekar Rinonce manifests as an outpouring of her emotions when facing problems; (b) the ego in the character Yuli manifests as a means of restraining those emotions; (c) the superego of the character Yuli takes the form of a process of moral reflection and introspection regarding the events that occur. The psychology of readers of Tulus Setiyadi’s novel Sekar Rinonce: (a) cognitive processes in the form of readers’ analysis or understanding of Tulus Setiyadi’s novel Sekar Rinonce; (b) readers’ affective processes in the form of impressions or feelings after reading Tulus Setiyadi’s novel Sekar Rinonce; (c) evaluative processes in the form of moral values that can be derived from Tulus Setiyadi’s novel Sekar Rinonce.

A STUDY OF DENOTATIVE AND CONNOTATIVE MEANINGS IN THE SONG LYRICS OF NDARBOY GENK

2026-05-30T07:19:26+07:00

This study is motivated by the richness of meaning found in Javanese song lyrics, which may lead to various interpretations, particularly in the songs of Ndarboy Genk. Song lyrics function not only as entertainment but also as a medium for conveying emotional, social, and cultural messages through denotative and connotative meanings. The problem addressed in this study concerns how denotative and connotative meanings are represented in Ndarboy Genk’s song lyrics. This research aims to describe both types of meaning in five selected songs, namely Balungan Kere, Koyo Jogja Istimewa, Ojo Nangis, Anak Lanang, and Lanang Tenan. This study employed a descriptive qualitative approach. The data consisted of words, phrases, and sentences in the song lyrics containing denotative and connotative meanings. Data were collected through reading and note-taking techniques. The data were analyzed using a semantic approach by identifying, classifying, and describing meanings based on their contextual usage. The findings reveal that connotative meanings are more dominant than denotative meanings. Denotative meanings are used to convey literal realities directly, while connotative meanings express emotions, inner conflicts, social criticism, and Javanese cultural values. The use of figurative language further strengthens the connotative meanings within the lyrics. Overall, Ndarboy Genk’s songs represent values such as hard work, simplicity, responsibility, and the worldview of Javanese society. This study concludes that the song lyrics contain rich linguistic and cultural meanings worthy of semantic analysis.

A DEIXIS ANALYSIS OF THE NOVEL LAKON BY ARDINI PANGASTUTI BN

2026-05-30T07:19:43+07:00

The purpose of this study is to identify the types of deictics in the novel Lakon by Ardini Pangastuti Bn through a pragmatic analysis using George Yule’s theory. This is a qualitative study in the field of literature. The primary data sources in this study consist of all forms of deictics, including words, phrases, and clitics found in the novel Lakon, while the secondary data sources consist of books and articles that support the analysis. Data collection techniques include literature review, observation, and note-taking. The data analysis technique is content analysis, which involves a comprehensive examination of the text, while data presentation is conducted informally. The results of the study reveal three types of deictics in the novel Lakon, namely: 1) personal deictics, including: a) free-form first-person singular deictics, such as The results of the study reveal three types of deictics in the novel Lakon, namely: 1) personal deictics, including: a) free-form first-person singular deictics, such as aku and kula; right-bound first-person singular deictics, namely –ku; and free-form first-person plural deictics, such as awake dhewe. b) free forms of second-person singular deictics include kowe, awakmu, sampeyan, panjenengan, and njenengan; the right-bound form of second-person singular deictics is –mu; c) free forms of third-person singular deictics include dheweke; the right-bound form of third-person singular deictics is –e; 2) Spatial deictics found include the forms kene and mrene, which indicate a place close to the speaker; the forms kono and mriku, which indicate a place somewhat distant from the speaker; and the forms mrana and kana, which indicate a place far from the speaker; 3) Temporal deictics found include the form saiki, which refers to the present time. Deixis indicating the past or a time that has already occurred uses the forms semana, mbiyen, and biyen.