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Copyright of Humanitas: International Journal of Social Sciences / Uluslararasi Sosyal Bilimler Dergisi is the property of Humanitas: International Journal of Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The presence of men as Make Up Artists (MUAs) is often viewed negatively in Indonesian society, which tends to associate this profession with women. This study aims to analyze the representation of Bubah Alfian's masculinity as an MUA through his Instagram account. The research employs Norman Fairclough's Critical Discourse Analysis (CDA) methodology to analyze 25 video reels uploaded by Bubah Alfian. Data collection techniques involve in-depth observation and textual and visual analysis of the video reels. The results show that Bubah Alfian successfully combines masculine and feminine elements in his identity as an MUA, challenging traditional gender stereotypes. These findings suggest that masculinity can be expressed more fluidly and flexibly through social media, particularly in professions typically associated with women. Additionally, the representation of masculinity displayed by Bubah Alfian offers new perspectives on how men in the beauty profession can leverage social media to craft a unique and authentic gender identity. This research makes significant contributions to the field of communication studies, particularly in the study of gender representation on social media, and demonstrates how social media can be used as a tool for social change. [ABSTRACT FROM AUTHOR]

Iban communities have the traditional beliefs that serve as their guide in daily life. Every occurrence in their environment is believed as a bird / ‘burung’ or a sign that needs to be interpreted to know its connotation. Among the beliefs that the Iban community is constantly concerned, emphasis is shown to the interpretation of signs that appear in dreams. In this study, the Semiotic Theory of Charles Sander Peirce was used as the basis for studying the signs manifesting in a dream. Using this theory, the existing signs will be interpreted as specific omens based on the beliefs of the Iban community. This study focuses on the classification of dreams based on the signs that exist. This research also aims to make sense of the dreams and its function in Iban society. The findings showed that the Ibanese community have their own interpretation of the signs that commonly appear in dreams. These interpretations are important elements in determining the classification of a dream. In this study, dreams in the Iban people are categorised into happy dreams (mimpi gaga), nightmares (mimpi changka), dreams of longevity (mimpi gayu), dreams of anger (mimpi ringat), dreams of brevity (mimpi pandak umur), dreams of helping deities (mimpi ditulung antu) and also the dream of mourning (mimpi ngulit). These classifications are very important because these interpretations are believed to be true by the Ibanese community as a medium of spiritual communication whereby the beliefs are a must to follow in order to ensure the well-being of their community. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In dem vorliegenden Beitrag wird der Frage nachgegangen, ob die epistemischen Implikationen der Annahme der Binarität der Rechtswahrnehmung auf die bisherige Auffassung der Beschaffenheit der festen Wortverbindungen in der Fachsprache des Rechts Einfluss haben können. Diese Frage ist insbesondere im Kontext des Merkmals der semantischen Festigkeit derjenigen festen Wortverbindungen relevant, welche Termini sind. Nach der Meinung des Autors können Merkmale der festen Wortverbindungen der juristischen Fachsprache, welche Termini sind, nicht ohne Einbeziehung der Begriffsgeschichte erörtert werden.

Copyright of Slovo a Slovesnost is the property of Academy of Sciences of the Czech Republic, Czech Language Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Film is actually a text that presents social reality. The text contained in a film forms a meaning while reflecting a particular culture. The message conveyed in the film can be informative and as an educational medium for the audience, the message to introduce a culture, build a democratic society and the film can also unite differences and construct social realities that occur in society. The author in this study saw the difference in the meaning of pluralism in the film "Raya and The Last Dragon". That there is a fact that a film can carry out the function of improving people's lives with its storyline with the diversity that exists and the characteristics of the differences depicted in the film. This research aims to find out various meanings in terms of designation, implications and myths contained in the film "Raya and the Last Dragon". The writing in this study uses the constructivist paradigm to conduct semiotic analysis of Roland Barthes and this research uses qualitative research methods to understand various meanings in the film "Raya and the Last Dragon". Based on the results of research and discussion, it can be said that this film shows the meaning of pluralism that is understood democratically, equality of differences. The differences that are denotatively described have connotations associated with differences that are constructed into an equation. The film depicts togetherness and unity in a difference, so a myth arises that describes the shift in meaning from plurality, namely a strength and unity formed from a difference and diversity that exists. [ABSTRACT FROM AUTHOR]

Copyright of Transfer: Zeitschrift für Kommunikation & Markenmanagement is the property of Deutsche Werbewissenschaftliche Gesellschaft and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Kajian ini mengkritisi penafsiran digital di era postmodern untuk menemukan titik kejelasan atas interpretasi ayat yang berbentuk digital dalam bingkai meme. Untuk mengungkap simbol-simbol dalam meme, kajian kualitatif digunakan untuk menelusuri penafsiran Q.S al-Ahzāb ayat 33 terkait larangan tabarruj seperti orang-orang jahiliyyah. Meme ini menyebar secara masif di media sosial sebagai alat penolakan terhadap fenomena tren fashion dan kecantikan yang dianggap bermasalah. Apalagi tren seperti beauty vlogger, make up challenge, styling challenge menjadi trending topic dalam berbagai platform media sosial dari tahun ke tahun. Terdapat tiga pernyataan utama terkait visualisasi meme dan simbolisasi jahiliyyah yang dituangkan dalam produksi meme. Secara umum kajian ini akan dianalisis dengan pendekatan semiotika yang digagas oleh Roland Barthes dengan tiga tipologi makna yakni denotatif, konotatif, dan mitos. Hasil dari kajian ini menunjukkan bahwa meme larangan tabarruj divisualisasikan dalam tiga tipologi; meme dengan redaksi Q.S al-Ahzāb ayat 33 tanpa tambahan apapun, meme yang menyertakan hukum tentang tabarruj, dan meme tentang tabarruj dengan keterangan tambahan. Selain itu, symbol-simbol yang bertebaran dalam meme mengkonstruk pola pikir warganet sehingga tercipta sebuah mitos.

The Aya Sofya Mosque is one of the historic mosques located in the city of Istanbul which was formerly known as Constantinople. Before becoming a mosque, Aya Sofya was the largest cathedral in the world that functioned as a center of religious, political, dan artistic life during the Byzantine empire. The history and events surrounding this mosque are recorded in a poem entitled “Masjidu Ayā Ṣūfyā” by Ahmad Syauqi which is published in the poetry anthology AsySyauqiyyat. The purpose of this research is to reveal the history of Aya Sofya through literary works. This research uses semiotic theory, which is a theory that examines the meaning of signs. In analyzing poetry, this research uses the semiotic method written by Michael Riffaterre, namely the indirectness of expressions and semiotic readings, which consists of Heuristic and Hermeneutic readings. The results of this research show that the poem Masjidu Ayā Ṣūfyā contains the history and architectural form of the Aya Sofya building, which experiences a change in function from a church to a mosque as the result of the change in power from the Eastern Roman Empire to the Ottoman Empire. [ABSTRACT FROM AUTHOR]

Copyright of Diyalog Interkulturelle Zeitschrift für Germanistik is the property of Diyalog Interkulturelle Zeitschrift fur Germanistik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Semiotik adalah cara transfer bahasa. Berbagai macam kekayaan bahasa yang ada di negara Indonesia. Lebih jauh semiotik ini dipergunakan dengan cara melestarikan adat isytiadat yang ada di daerah tertentu, termasuk yang ada di desa Guci Kecamatan Karanggeneng kabupaten Lamongan. Merupakan kekayaan intelektual masyarakat pada masa dahulu dan sekarang masih menjadi tradisi (kebudayaan). Kegiatan lempar nasi pada saat hujan adalah sebuah tradisi yang dilestarikan oleh masyarakat Guci. Sebuah ketetapan budaya dengan menggunakan tradisi lempar nasi pada saat hujan, akan tetapi hal ini dilakukan apabila hujan yang disertai dengan angin. Tidak ada keterangan yang jelas dari sesepuh desa Guci mengapa menggunakan nasi sebagai media. Peneliti tidak mengungkap secara jauh, karena peneliti terfokus pada kajian semiotik bahasa yang dipergunakan dalam tradisi lempar nasi tersebut. Menarik untuk dilakukan penelitian sebagai bentuk dari pengembangan intelektual dari sisi kebahasaan, tanda, indeks dalam penerapan tradisi tersebut.

Rezension

Copyright of Acta Universitatis Wratislaviensis. Germanica Wratislaviensia is the property of Wroclaw University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Literature & Humanities / Edebiyat ve Beşeri Bilimler Dergisi is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstrak Kenduri Sko merupakan tradisi pengukuhan gelar adat yang dilakukan oleh masyarakat Kerinci. Di dalam tradisi itu terdapat berbagai piranti dan pepatah-petitih yang belum diketahui makna dan fungsinya. Oleh sebab itu, penelitian ini hendak melihat makna dan fungsi tradisi lisan Kenduri Sko. Ada dua strategi yang digunakan dalam penelitian ini,pertama, pengumpulan data dengan perekaman dan wawancara. Kedua, Kenduri Sko dilihat sebagai fakta semiotik dengan aspek empirik dan aspek nonempirik. Melalui aspek empirik dikaji piranti dan teks pepatah-petitih dalam pengukuhan pemangku adat, sedangkan aspek nonempirik dilihat secara keseluruhan tradisi Kenduri Sko sebagai kesadaran kolektif kebahasaan dan kesadaran kolektif kebudayaan. Metode berikutnya adalah dengan melihat fungsi-fungsi folklore menurut Bascom. Penelitian ini menemukan bahwa Kenduri Skoadalah warisan nenek moyang yang berupa benda pusaka, aturan-aturan, norma-norma, nilai-nilai, dan sebagai ucapan rasa syukur atas apa yang menjadi milik masyarakat Kerinci. Adapun fungsi Kenduri Sko adalah sebagai pengukuhan gelar adat, sistem nilai-nilai kolektif, edukasi bagi pewaris selanjutnya, dan menjadi alat kontrol dalam prilaku sosial masyarakat. Kata kunci: tradisi lisan, kenduri sko, semiotik, kesadaran kolektif Abstract Kenduri Sko is a tradition of custom title inauguration held by the Kerinci society. In that tradition, there are various tools and wise words which their meaning and functions are not yet known. Therefore, this study wants to look at the meaning and function of Kenduri Sko oral tradition. Two strategies are used in this study. First, the data are collected by recording and interviewing. Second, Kenduri Sko seen as a semiotic fact with empirical and non-empirical aspects. Through the empirical aspect, petatah-petitih (customary rhyming wise words) text examined in the inauguration of customary stakeholders, while the non-empirical aspect seen as a whole of the Kenduri Sko tradition as collective language and cultural awareness. The next method is to look at the functions of folklore according to Bascom. This research found that Kenduri Sko is a legacy of ancestors in the form of heirlooms, rules, norms, values, and gratitude for what belongs to the Kerinci’s community. Kenduri Sko functions as an oath of customary titles, a system of collective values, education for the next heirs, and a means of control in people’s social behavior. Keywords: oral tradition, kenduri sko, semiotics, collective awareness

I denne artikel præsenteres en undersøgelse af fortællinger om sprog i København skrevet af 51 københavnere. Selvom sprog sjældent behandles i forbindelse med lydhistorie, udgør mangfoldigheden af sprog i byen en central del af byens lyduniverser. Samtaler, råb og sang, for eksempel på torvet, i bussen eller i baggården, fungerer som semiotiske elementer i menneskers konstruktioner af og navigation i byens rum. Undersøgelsen konkluderer, at de københavnere, der deltog i undersøgelsen, på ingen måde oplever sprog som meningsneutrale dele af byens lydbillede. Tværtimod understreger deltagernes historier, at lyd indgår som et tegn i den altid igangværende produktion af byens mange betydninger.

Semiotics is a science related to the interpretation of meaning concerning the nature of linguistic symbols. It is essential to mastery semiotics to comprehend the usage of "signs" that in the human mind, these signs are derived from human culture as they have ability to convey meaning in all social and cultural aspects. Hence, consumer viewpoint can easily be influenced by the elements in the advertisement. Unfortunately, on some occasions the image or tagline can lead consumers to a wrong interpretation which eventually causes problem to them and society at large. Inevitably, consumers are encouraged to comprehend the function of semiotics to facilitate them to understand and interpret the advertisement precisely, and correctly. Thus, the research aims at highlighting meanings of the signs and symbols embedded in advertisements of food delivery apps, as well as to elucidate the semiotic function of them. The research employs semiotic analysis framework as a tool in interpreting and analysing the signs, icons, symbols, and their meanings. The Charles Sanders Pierce’s framework is adopted to analyse the collected data. Pursuant to the process, the commonly used food delivery applications in The Kingdom of Saudi Arabia, namely: wsselksa, appmrsool and hungerstation applications are selected to extract the samplings for the analysis. The selection of these apps is based on the similarities of icons and symbols used in them. Hence, the aspects of representations, subject matters, and interpretations of the data will be analysed. As a result, the relationship between these three aspects will lead to the process of interpreting meanings of the analysed signs and symbols. As such, interpreter's understanding of the signs and symbols is very essential in determining and interpreting the meaning. Furthermore, interpreter ability and knowledge including critical thinking skills and understanding of social life and local culture of consumers will facilitate the interpretation process. Withstanding the function of semiotics as an infinite concept, it requires complex cognitive process, impression, reasoning, and learning as well as it commissions special attention to produce accurate and logical interpretation. [ABSTRACT FROM AUTHOR]

Penelitian dilakukan untuk mendeskripsikan pemaknaan denotasi, konotasi dan mitos dalam Syair Ahinnu Ila Khubzi Ummi karya Mahmoud Darwish dengan pendekatan semiotika Roland Barthes. Metode yang digunakan dalam penelitian ini adalah metode deskriptif kualitatif dengan landasan dokumen utama yaitu syair Ahinnu Ila Khubzi Ummi. Data penelitian ini adalah data kualitatif berupa fakta, informasi, bait dan gambaran yang diperoleh peneliti dari sumber penelitian, yaitu syair Ahinnu Ila Khubzi Ummi karya Mahmoud Darwish. Adapun teknik pengumpulan data menggunakan pendekatan metode kulitatif deskriptif untuk mengungkap makna denotasi, konotasi dan mitos pada syair. Sedangkan hasil yang diperoleh bahwa penelitian ini menunjukkan adanya diksi-diksi semitotik yang terkandung dalam syair dan dapat diungkap dalam makna denotasi, konotasi, dan mitos. Secara makna denotasi, penyair ingin menyampaikan perasaan rindu yang kuat dan cinta yang mendalam terhadap ibu yang telah memberikannya kehidupan. Sehingga apapun akan dilakukannya untuk melindungi dan membahagiakan ibunya. Adapun makna konotasi, penyair merasakan penyesalan yang hebat dalam dirinya karena tidak bisa berjuang dalam mewujudkan harapan tanah airnya. Mitologi yang terkandung dalam syair, penyair ingin menyampaikan bahwa ketika seseorang jauh dari sesuatu yang biasanya ada didekatnya maka keinginan untuk kembali, melindungi dan berjuang untuk kebaikannya akan menjadi lebih besar daripada selalu berada di dekatnya.

Dalam artikel ini bertujuan mengakat tentang tematik dalam puisi Kita Adalah Pemilik Sah Republik Ini karya Taufiq Ismail dan at-Ta’syiirah karya Nizar Qabbani. Dengan melihat unsur tematik dalam puisi tersebut guna melihat perbandigan antara kedua karya sastra tersebut. dengan mengunakan metode deskriptif analitik dan studi kepustakaan dalam memperoleh data serta pendekatan sastra bading. Adapun landasan teori yang digunakan adalah semantik F. De Saussere. Hal ini untuk memudahkan dalam analisis unsur tematik dalam puisi tersebut. juga memudahkan dalam melakukan sastra bading dalam karya puisi Taufiq Ismail dan Nizar Qabbani. Adapun hasil yang didapati bawah tema yang dianggkat dalam kedua puisi tersebut adalah tema nasionalisme dan juga terdapat tanda dan penanda dari sikap nasioanalisme yang digambarkan dalam puisi karya Taufiq Ismail dan Nizar Qabbani.

Abstrak Makanan pada era kiwari tidak lagi sekadar hidangan, tetapi menjadi perantara munculnya beragam tafsir. Hanna Fransisca menjadi salah seorang penyair yang memanfaatkan khazanah kuliner dalam puisi. Artikel ini mengulas tiga puisi pilihan karya Hanna Fransisca, yaitu “Bakpao Tionghoa”, “Kambing Guling”, dan “Tumis Paru”. Penelitian ini menyoal kuliner dalam puisi yang dibaca melalui perspektif gastrokritik dengan menggunakan metode semiotika Rolland Barthes. Penelitian ini berusaha mengungkap makna kuliner dalam ketiga puisi. Hasil penelitian ini menunjukkan bahwa kuliner dalam puisi “Bakpao Tionghoa”, “Kambing Guling”, dan “Tumis Paru” menyoal tubuh. Bakpao dan kambing guling menjadi medium penarasian tubuh yang tidak memiliki otoritas gerak di ruang sosial. Tubuh disepadankan bakpao yang cenderung diposisikan sebagai objek konsumtif. Tubuh dalam “Kambing Guling” hadir sebagai tubuh dalam ruang teritori yang cenderung mengekang kebebasan sebagai subjek. “Tumis Paru” menjadi medium penarasian tubuh yang telah terbebas dari penjara badani. Dalam hal identitas, ketiga puisi menarasikan identitas Tionghoa yang identik berkulit cerah dan berada pada ruang-ruang stereotip. Kuliner dalam ketiga puisi tersebut menjadi medium kritik, upaya protes, dan sindiran terhadap praktik-praktik warisan kolonial yang membedakan status dan identitas. Kata kunci: identitas, kuliner, tubuh, Tionghoa, gastrokritik, semiotik Abstract Food in the recent era is no longer just a dish, but an intermediary for various interpretations. One of the poets who have used culinary treasures in the world of poetry is Hanna Fransisca. This article reviews selected poems by Hanna Fransisca entitled "Bakpao Tionghoa", "Kambing Guling", and "Tumis Paru". This research examines culinary in poetry through a gastro-critical perspective using the semiotic method of Rolland Barthes. This research attempts to reveal the culinary meaning in the three poems. The results showed that the culinary in the poetry "Bakpao Tionghoa", "Kambing Guling", and "Tumis Paru" shows body problems. Bakpao and Kambing guling become a medium for body narration which does not have the authority in social space. The body, through bakpao, is to be positioned as a consumptive object. Meanwhile, the body in “Kambing Guling” is present as a body in territorial space which tends to restrain freedom as a subject. “Tumis Paru” becomes a medium for narrating the body that has been freed from physical prison. In terms of identity, the three poems narrate a Chinese identity that is identical with bright skin and exists in stereotypical spaces. The culinary in the three poems is a medium of criticism, protest, and satire against colonial heritage practices that differentiate status and identity. Keywords: identity, culinary, body, Tionghoa, gastrocritics, semiotics

In this paper, I aim to retrieve insights from the philosophy of the polymath Charles Sanders Peirce, which he referred to as pragmaticism. What Peirce is perhaps best known as is being the father of pragmatism. In order to differentiate his project from other thinkers such as William James and John Dewey, who likewise referred to their projects as pragmatism, he renamed his pragmatism to pragmaticism.Peirce's pragmaticism has much to offer theologians, especially concerning theological method. I demonstrate this claim by showing the usefulness of three of Peirce's pragmaticist concepts. The first section of this paper briefly explicates the foundational concepts of pragmaticism, which are the pragmatic(ist) maxim, the semiotic nature of understanding, and fallibilism. The second section of this paper provides a sketch of the benefits these three concepts have for theological method. [ABSTRACT FROM AUTHOR]

Ruwatan adalah salah satu upacara tradisional untuk mendapatkan keselamatan supaya orang terbebas dari segala macam kesialan hidup, nasib jelek dan selanjutnya agar dapat mencapai kehidupan yang ayom ayem tentrem (aman, bahagia, damai di hati). Penelitian ini bertujuan mendeskripsikan secara objektif bentuk-bentuk sesajen serta makna dari diadakan sesajen dalam upacara ruwatan. Penelitian ini menggunakan metode deskriptif kualitatif dengan pendekatan semiotik. Sumber data dalam penelitian ini adalah dalang ruwat bapak Didi Permadi yang bertempat tinggal di Lampung. Sedangkan teknik yang digunakan dalam penelitian ini adalah teknik wawancara, teknik rekam, dokumentasi, teknik catat, dan pengamatan langsung di lapangan tempat upacara tersebut berlangsung. Hasil penelitian menunjukkan bahwa dalam setiap upacara ruwatan, khususnya ruwatan anak Kendhana-kendhini adat suku Jawa, tidak diharuskan menggunakan wayang kulit sebagai perantaranya tergantung tingkat kemampuan ekonomi sang pemilik hajat. Penelitian ini dapat disimpulkan bahwa dalam acara ruwatan hakikinya bahwa kehidupan di dunia ini hanyalah tempat kita menanam sebuah kebaikan apabila kita menanam dengan cara yang baik, benar, dan sesuai maka kita akan memetik hasil dari menanam kita dengan hasil yang memuaskan.