Jurnal program studi S-1 Pendidikan Bahasa Jepang - Fakultas Bahasa dan Seni UNESA meliputi bidang kajian pendidikan bahasa Jepang dan bahasa Jepang. Jurnal ini terbit dua kali dalam satu tahun, yaitu pada bulan Januari-Juni dan Juli-Desember.
PRODI S-1 PENDIDIKAN BAHASA JEPANG UNESA
METAFORA KONSEPTUAL DALAM ALBUM YOASOBI BERJUDUL “THE BOOK” KARYA RIRA IKUTA DAN AYASE
Penelitian ini bertujuan mendeskripsikan bentuk dan makna metafora konseptual dalam lirik lagu album “The Book” karya Yoasobi berdasarkan teori metafora konseptual George Lakoff dan Mark Johnson. Penelitian ini menggunakan metode deskriptif kualitatif dengan pendekatan stilistika. Data penelitian berupa lirik lagu yang mengandung metafora konseptual, dikumpulkan melalui teknik simak dan catat, kemudian dianalisis dengan mengidentifikasi, mengklasifikasikan, dan menafsirkan metafora berdasarkan konteks lirik. Hasil penelitian menunjukkan bahwa metafora ontologis mendominasi dengan 103 data, sedangkan metafora struktural berjumlah 78 data. Metafora tersebut berperan dalam memperkuat penyampaian pesan dan membangun keterhubungan emosional antara lirik dan pendengar. Selain itu, album The Book I merepresentasikan romansa dan perpisahan, The Book II merepresentasikan hubungan dan kenangan, sedangkan The Book III merepresentasikan keberanian dan jati diri.
ANALISIS SOAL PILIHAN GANDA MATA PELAJARAN BAHASA JEPANG TINGKAT SMK BERDASARKAN KAIDAH ASPEK BAHASA
Soal pilihan ganda banyak digunakan dalam evaluasi pembelajaran bahasa Jepang karena efisien dan objektif, namun penyusunannya menjadi kompleks akibat penggunaan empat sistem penulisan secara bersamaan (hiragana, katakana, kanji, dan romaji), sehingga penelitian ini bertujuan mendeskripsikan klasifikasi jenis soal berdasarkan sistem penulisan serta kesesuaiannya dengan kaidah aspek kebahasaan. Penelitian ini menggunakan desain deskriptif kualitatif dengan teknik dokumentasi, menganalisis dua perangkat soal sumatif bahasa Jepang kelas XI SMK di Surabaya (Perangkat P1 dan P2) yang masing-masing terdiri atas 40 butir soal, melalui tahap reduksi data, penyajian data, dan penarikan kesimpulan berdasarkan delapan klasifikasi jenis soal dan tujuh kriteria aspek kebahasaan. Hasil penelitian menunjukkan ditemukannya delapan jenis kombinasi aksara pada kedua perangkat, dengan jenis soal berstem bahasa Indonesia dan opsi beraksara Jepang paling banyak ditemukan pada Perangkat P1, sedangkan jenis soal beraksara Jepang pada stem maupun opsi paling banyak ditemukan pada Perangkat P2; jenis soal paling otentik secara kebahasaan, yakni stem dan opsi jawaban seluruhnya beraksara Jepang, jumlahnya masih terbatas pada kedua perangkat. Dari segi kesesuaian aspek kebahasaan, kedua perangkat tergolong kategori "Baik", meskipun ketidaksesuaian kaidah bahasa Indonesia dan Jepang pada instruksi soal, serta inkonsistensi aksara antara stem dan opsi jawaban, masih ditemukan pada sejumlah besar butir soal. Temuan ini terbatas pada dua perangkat yang dianalisis dan menunjukkan perlunya perbaikan sistematis dalam penyusunan soal bahasa Jepang di Sekolah A agar instrumen evaluasi menjadi lebih valid dan konsisten, serta menjadi rujukan bagi guru dan peneliti selanjutnya. Kata Kunci: soal pilihan ganda, sistem penulisan, kesesuaian kaidah bahasa, evaluasi bahasa Jepang, SMK
PENGEMBANGAN KARTU PERMAINAN "KARUDOU" SEBAGAI MEDIA PEMBELAJARAN KATA KERJA DALAM BAHASA JEPANG (どうし)
KARUDOU merupakan sebuah media pembelajaran Bahasa Jepang berbentuk permainan kartu yang terinspirasi dari salah satu permainan kartu tradisional Jepang, Karuta. Permainan kartu ini tidak hanya dapat digunakan sebagai media pembelajaran, namun juga dapat menjadi media pengenalan budaya Jepang. Tujuan dari penelitian ini, yaitu 1) Untuk mendeskripsikan bagaimana hasil dari pengembangan serta kelayakan permainan kartu KARUDOU sebagai media pembelajaran kata kerja dalam bahasa Jepang. 2) Untuk mendiskripsikan respon peserta didik terhadap pengembangan permainan kartu KARUDOU sebagai media pembelajaran kata kerja dalam bahasa Jepang. Jenis penelitian yang digunakan pada penelitian ini adalah Research and Development (RnD) dengan model pengembangan 4D (Define, Design, Development, Dissemination). Media pembelajaran KARUDOU diuji cobakan pada 22 siswa tingkat N5 di LPK Oosaka Gakkou, Kediri. Teknik pengumpulan data yang digunakan pada penelitian ini terdiri dari observasi, wawancara, dokumentasi, tes formatif dan pengisian angket. Terdapat tiga jenis instrument penelitian meliputi lembar validasi ahli, angket respon siswa, dan soal pre-test-post-test. Analisis data penelitian menggunakan teknik analisis kualitatif dan kuantitatif. Hasil dari penelitian dan pengembangan media pembelajaran KARUDOU dinilai memenuhi keriteria “sangat valid” sebagai media pembelajaran dengan perolehan skor dari ahli media 100% dan ahli materi 93,3%. Sedangkan berdasarkan penilaian responden, KARUDOU dinilai “sangat layak” digunakan dalam pembelajaran dibuktikan dengan perolehan skor sebesar 93,2%. Selain itu, berdasarkan hasil pre-test rata-rata nilai yang diperoleh 71,5, sedangkan hasil post-test rata-rata nilai yang diperoleh 85,4. Maka dapat disimpulkan bahwa penggunaan media pembelajaran KARUDOU dapat meningkatkan pemahaman siswa terhadap materi kata kerja (どうし). Kata kunci : KARUDOU, media pembelajaran, Bahasa Jepang, kata kerja, model 4D
TINDAK TUTUR EKSPRESIF MENGELUH DALAM ANIME JOSEE TO TORA TO SAKANA-TACHI PRODUKSI STUDIO BONES: KAJIAN PRAGMATIK
This study examines the pragmatic context and strategies of expressive speech acts of complaining in the anime Josee to Tora to Sakana-tachi, produced by Studio BONES and adapted from the short story by Seiko Tanabe. The background of this research stems from the observation that Japanese speakers tend to express complaints implicitly, influenced by the deeply rooted cultural values of tatemae and honne, which prioritize the maintenance of social harmony, so that the meaning of a complaint can often only be understood through its speech context. Accordingly, both the pragmatic context and the strategies used in expressing complaints are significant aspects for investigation. This study employs Leech's (1983) aspects of speech situation to analyze pragmatic context, along with Searle's (1969) illocutionary speech act theory, which classifies expressive speech acts as manifestations of the speaker's psychological attitude. The classification of complaining strategies follows Anna Trosborg's (1995) framework, comprising four categories: Non-Explicit Reproach, Expression of Disapproval, Accusation, and Blaming. The method employed is descriptive qualitative, utilizing non-participatory observation (simak bebas libat cakap) and note-taking techniques. Data were sourced from the anime's dialogue scripts, set in Osaka Prefecture and characterized by the use of the Kansai dialect (Kansai-ben). The analysis yielded 25 instances of expressive speech acts of complaining. In terms of pragmatic context, the findings show that the meaning of complaints is strongly shaped by the social relationship between speaker and hearer, the situational setting, and the speaker's communicative purpose. In terms of strategy, all four Trosborg categories were found along with their respective sub-strategies. This study concludes that the diversity of complaining strategies employed by the characters is shaped by personality traits, interpersonal social relations, and the situational context of each conversation, consistent with Japanese cultural values that emphasize politeness in communication.
THE MEANING OF LITERALISM IN EXPRESSIVE SPEECH IN THE ANIME BARAKAMON (ばらかもん) PRODUCED BY YOSHIAKATA KOYAMA
Abstract This study aims to describe the forms of expressive speech acts found in the anime Barakamon. The focus of this research is to identify the types of expressive speech acts and to analyze their delivery forms based on literal and non-literal meanings. This research employs a descriptive qualitative method, with data sources derived from the utterances of characters in the anime Barakamon. Data collection techniques were carried out through the listening method and note-taking technique, while data analysis used the pragmatic equivalence method. The results of the study show that 65 expressive speech act data were found, consisting of 14 data of thanking, 13 data of apologizing, 25 data of complimenting, 4 data of congratulating, 6 data of complaining, and 3 data of expressing emotion. Based on the form of delivery, 36 data were found to be literal and 29 data non-literal. The literal form is used when the meaning of the utterance corresponds to its lexical meaning, while the non-literal form is understood based on the conversational context and its pragmatic function. The compliment category is the most dominant expressive speech act found in this study. The results indicate that the use of expressive speech acts in the anime Barakamon not only functions to express the speaker's feelings but also reflects social relationships, linguistic politeness, and the communication culture of Japanese society. Keywords: expressive speech acts, pragmatics, literal meaning, non-literal meaning, anime Barakamon.
METAFORA KONSEPTUAL DALAM LIRIK LAGU ALGERNON KARYA YORUSHIKA: PERSPEKTIF INTERTEKSTUAL TERHADAP NOVEL FLOWERS FOR ALGERNON
Abstrak Penelitian ini mengkaji metafora konseptual dalam lirik lagu Algernon karya Yorushika serta hubungannya dengan novel Flowers for Algernon karya Daniel Keyes melalui pendekatan intertekstualitas. Penelitian ini bertujuan untuk (1) mengidentifikasi jenis metafora konseptual yang terdapat dalam lirik lagu Algernon, (2) menganalisis pemetaan domain sumber (source domain) dan domain target (target domain) pada metafora-metafora tersebut, serta (3) mengkaji representasi perkembangan, kemunduran, dan perubahan tokoh dalam novel Flowers for Algernon yang direpresentasikan melalui metafora dalam lirik lagu. Penelitian ini menggunakan pendekatan deskriptif kualitatif dengan teori metafora konseptual Lakoff dan Johnson (1980) sebagai landasan utama analisis serta pendekatan intertekstualitas untuk menjelaskan keterkaitan antara lirik lagu dan novel yang menjadi sumber inspirasinya. Data penelitian berupa ungkapan metaforis dalam lirik lagu Algernon, dikumpulkan melalui metode simak dan teknik catat, kemudian dianalisis dengan mengidentifikasi metafora konseptual, menentukan domain sumber dan domain target, mengklasifikasikan jenis metafora, dan menghubungkannya dengan narasi novel Flowers for Algernon. Hasil penelitian menunjukkan terdapat 14 data metafora konseptual yang terdiri atas metafora ontologis, struktural, dan orientasional, dengan metafora struktural sebagai jenis yang paling dominan. Domain sumber yang ditemukan meliputi hati, mata, nama, tangan, angin, ombak, mimpi, roti, labirin, pohon, dinding, menara, dan bayangan pohon, yang dipetakan ke berbagai domain target seperti kesadaran, pemahaman, identitas, kemampuan bertindak, harapan, pertumbuhan kognitif, perjalanan hidup, hambatan, memori, dan penerimaan terhadap perubahan. Analisis intertekstual menunjukkan bahwa metafora-metafora tersebut membentuk pola naratif yang sejalan dengan perjalanan Charlie Gordon dalam Flowers for Algernon, yaitu dimulai dari pembentukan kesadaran dan identitas, pertumbuhan kognitif, munculnya hambatan, kemunduran kemampuan intelektual, hingga penerimaan terhadap perubahan. Temuan ini menunjukkan bahwa lirik lagu Algernon tidak sekadar mengadaptasi unsur-unsur novel, tetapi mentransformasikan pengalaman dan perjalanan tokohnya ke dalam rangkaian metafora konseptual yang puitis dan saling berkaitan. Kata kunci: metafora konseptual, Lakoff dan Johnson, intertekstualitas, Algernon, Flowers for Algernon, Yorushika.
Analysis of Onomatopoeia in Doraemon Volume I By Fujiko F. Fujio
Onomatopoeia is one of the distinctive linguistic features of the Japanese language used to imitate sounds and describe movements, conditions, and emotions. This study aims to describe the forms and meanings of onomatopoeia found in Doraemon Volume I by Fujiko F. Fujio. This study employed a qualitative descriptive method. The data consisted of dialogues, narrations, and sound effects containing onomatopoeia in the manga. Data were collected through observation and note-taking techniques and analyzed through identification, classification, interpretation, and conclusion drawing. The analysis of onomatopoeic forms was based on Kindaichi's (1978) theory, while the analysis of meanings followed Akimoto's (2002) classification. The findings revealed five forms of onomatopoeia, namely giseigo, giongo, gitaigo, giyougo, and gijougo, with giongo being the most dominant. Five semantic categories were identified: mono ga dasu oto, doubutsu no nakigoe, hito no hitozawa, hito no ugoki, and hito no yousu/shinjou. These findings indicate that onomatopoeia in Doraemon Volume I is predominantly used to represent sounds produced by objects and to enhance the expression of characters' movements, voices, and emotions. Keywords: onomatopoeia, Doraemon Volume I, Kindaichi, Akimoto, Japanese linguistics.
ANALYSIS OF METAPHOR IN THE SONG ALBUM AINISAKIHANA (愛ニ咲花 ) BY ROKUDENASHI (ロクデナシ ) SEMANTIC STUDY
Abstrak This study aims to describe the forms of metaphor and analyze the meanings of metaphors contained in the lyrics of the album AINISAKIHANA (愛ニ咲花) by ロクデナシ (Rokudenashi). The object of this research consists of 12 songs from the album. A descriptive qualitative method was employed, using the simak technique with its extension, Simak Bebas Libat Cakap (SBLC), for data collection, and the agih method with the Bagi Unsur Langsung (BUL) technique for data analysis. Metaphors were identified using the Metaphor Identification Procedure (MIP); their forms were classified based on Stephen Ullmann's theory, while their meanings were analyzed using the vehicle, topic, and ground framework of Knowles and Moon (2006), supplemented by Chaer's (2014) classification of connotative meaning. The findings identified 23 metaphor data, consisting of concrete-to-abstract metaphors (17 data), anthropomorphic metaphors (4 data), and synesthetic metaphors (2 data), while no animal metaphors were found. In terms of meaning, these metaphors consistently conveyed emotional themes such as longing, loss, uncertainty, and hope through concrete imagery such as flowers, stars, light, and tears. Based on connotative meaning, 13 data carried positive connotations, 9 carried negative connotations, and 1 carried a neutral connotation. The dominance of positive connotative meaning indicates that ロクデナシ's lyrics largely convey constructive messages despite being wrapped in melancholic themes. This study is expected to enrich semantic studies, particularly in the analysis of metaphor in Japanese song lyrics. Keywords: metaphor, semantics, song lyrics, ロクデナシ, Knowles and Moon
PENGGUNAAN KANJI SEBAGAI SIMBOL HIERARKI DALAM ANIME KIMETSU NO YAIBA KARYA KOYOHARU GOTOUGE: KAJIAN SEMIOTIKA ROLAND BARTHES
Penelitian ini mengkaji representasi hierarki sosial dan relasi kekuasaan yang dikonstruksikan melalui simbol-simbol kanji dalam anime Kimetsu no Yaiba karya Koyoharu Gotouge. Penggunaan kanji dalam anime ini tidak hanya berfungsi sebagai sarana komunikasi linguistik, tetapi juga sebagai sistem tanda yang secara implisit mengatur posisi sosial dan identitas para tokohnya. Penelitian ini bertujuan untuk menganalisis makna denotatif, konotatif, dan mitos dari kanji yang merepresentasikan hierarki, serta memahami fungsinya sebagai sistem penanda kekuasaan berdasarkan teori semiotika Roland Barthes.
PERSEPSI MAHASISWA TERHADAP KESULITAN DALAM MEMPELAJARI KANJI
Kanji is one of the essential components of Japanese language learning; however, it is often considered the most difficult aspect to master due to its complex forms, large number of characters, multiple meanings, and various readings (onyomi and kunyomi). This study aims to describe students' perceptions of the difficulties in learning kanji and to identify the factors influencing those difficulties. This study employed a qualitative approach using a descriptive qualitative method. The data were collected through open ended questionnaires completed by 87 students of the Japanese Language Education Study Program at Universitas Negeri Surabaya from the 2024 and 2025 cohorts and were supported by semi-structured interviews with 20 students. The data were analyzed through data reduction, data display, and conclusion drawing, while data validity was examined using technique triangulation. The results showed that most students perceived kanji as the most difficult component in learning Japanese. The main difficulties experienced by students included memorizing kanji forms and stroke orders, distinguishing between onyomi and kunyomi readings, and differentiating kanji characters with similar shapes. Furthermore, the study found that students' difficulties in learning kanji were influenced by internal factors, such as learning motivation, perseverance, laziness, anxiety, and self-confidence, as well as external factors, including teaching methods, learning media, the amount of kanji material to be learned, and lecturer support during the learning process. These findings are expected to contribute to the development of more effective kanji learning strategies that meet students' needs. Keywords: students' perceptions, learning difficulties, kanji, Japanese language learning
A KORELASI ANTARA PENGGUNAAN GAME GENSHIN IMPACT DAN PENGUASAAN KOSAKATA BAHASA JEPANG PADA MAHASISWA PROGRAM STUDI PENDIDIKAN BAHASA JEPANG
This study aims to describe the correlation between the use of the Genshin Impact Game and the mastery of Japanese Vocabulary Knowledge in Students of the Japanese Language Education Study Program, Surabaya State University. The method used in this study is a Quantitative method with an Associative Correlational approach. Data were collected through an in-game Vocabulary Test and a sampling questionnaire filled out by 25 students of the Class of 2021 who played the Genshin Impact Game. The results of the study show a strong relationship between playing the Genshin Impact Game and Japanese vocabulary skills with a correlation value of 0.711. These results indicate a positive correlation between the duration of playing the Genshin Impact Game and the increase in students' Japanese vocabulary. Keywords : Game Genshin Impact, vocabulary knowledge, Japan vocabulary knowledge
PENGGUNAAN BAHASA FIGURATIF MAJAS PERBANDINGAN DALAM ANIME “TENKI NO KO” KARYA MAKOTO SHINKAI (KAJIAN STILISTIKA)
Bahasa figuratif merupakan penggunaan bahasa yang menyampaikan makna secara tidak langsung untuk menghasilkan efek estetis dan ekspresif. Penelitian ini bertujuan mendeskripsikan jenis dan makna bahasa figuratif dalam dialog anime Tenki no Ko karya Makoto Shinkai. Penelitian menggunakan metode deskriptif kualitatif dengan sumber data berupa dialog yang mengandung bahasa figuratif berdasarkan subtitle bahasa Jepang. Hasil penelitian menunjukkan terdapat 20 data bahasa figuratif yang terdiri atas 9 metafora, 7 simile, dan 4 personifikasi. Metafora menjadi jenis majas yang paling dominan, sedangkan personifikasi merupakan jenis yang paling sedikit ditemukan. Penggunaan bahasa figuratif dalam anime Tenki no Ko berfungsi memperkuat nilai estetika bahasa, membangun suasana emosional, serta menegaskan hubungan manusia dengan alam.
TINDAK TUTUR ILOKUSI EKSPRESIF BERMUATAN EMOSI DALAM FILM アリスとテレスのまぼろし工場 KARYA MARI OKADA
Language serves as a means of conveying information and a medium for expressing the speaker's thoughts, attitudes, and emotions within a communicative context. Studies on speech acts in film media continue to develop within the field of pragmatics, particularly in animated films that present dialogues rich in conflict and emotional content. This study examines expressive illocutionary speech acts charged with emotion in the dialogues of the animated film Arisu to Teresu no Maboroshi Koujou by Mari Okada (2023). The study aims to describe the types of emotion represented through expressive utterances, identify their pragmatic forms, and analyze the role of situational context in determining illocutionary meaning. A qualitative descriptive approach was employed, with eighteen utterances collected through observation, note-taking, and documentation techniques, then analyzed using Searle's (1979) expressive speech act theory, Hymes's (1974) SPEAKING model, and Leech's (1993) politeness principles. The findings reveal that expressive speech acts in this film represent thirteen types of emotion, with love and anger each appearing most frequently in three data. Regarding pragmatic form, direct literal utterances are dominant (55.6%), followed by indirect (27.8%) and direct non-literal (16.7%) forms. Situational context proves decisive in shaping illocutionary meaning, as grammatically similar utterances can carry different expressive functions depending on participants, setting, and communicative purpose. This study concludes that emotionally charged expressive speech acts play a significant role in constructing character identity and propelling the film's narrative arc. Keywords: expressive speech acts, emotion, pragmatics, film dialogue, Mari Okada.
JOSEIGO (女性語) DAN DANSEIGO (男性語) DALAM ASH CRIMSON DARI GAME THE KING OF FIGHTERS KARYA SNK: KAJIAN SOSIOLINGUISTIK
Language serves as a daily communication tool, including in entertainment media such as anime and manga, where the use of authentic and diverse language plays an important role in shaping characters and plot. One character examined in this study is Ash Crimson, a bishounen (美少年) character from the King of Fighters series. This research aims to identify the forms of 女性語 (joseigo) and 男性語 (danseigo) used in Ash Crimson’s speech, analyze the dominance of danseigo over joseigo in his utterances, and explain the use of such language from a sociolinguistic perspective as a representation of gender-based language in fictional characters. This study employs a descriptive qualitative approach, with data consisting of the character’s voice lines in battle situations and interactions with other characters. The analysis is based on Oogawa’s theory of gendered language classification, Okamoto’s theory of language and gender, and Kinsui’s concept of yakuwarigo The findings show that the use of joseigo and danseigo in Ash Crimson’s speech was analyzed using Oogawa’s theory and Okamoto’s framework on language and gender. The results indicate that many utterances fall into a neutral category, characterized by informal forms. Furthermore, the explicit use of danseigo is more dominant in the data, while joseigo does not appear prominently in standard forms as found in real-life language. However, Ash Crimson exhibits a feminine nuance through intonation, word choice, and a distinctive style of mockery and provocation. This suggests that the language used does not directly represent real-world gendered language, but rather reflects yakuwarigo, or role language, constructed to shape a specific character identity. In conclusion, the use of joseigo and danseigo in fictional characters does not necessarily reflect linguistic reality, but instead functions as a tool for character construction. These findings support the view that language in media such as video games serves representational and ideological functions in shaping perceptions of gender in characters Keywords: Joseigo, Danseigo, Yakuwarigo, Sociolinguistics, Fictional Characters. 言語は、毎日のコミュニケーションの道具であり、アニメや漫画などのエンタメの世界でも重要な役割を持つものである。自然で多様な言い方を用いることで、キャラクターやストーリーをより魅力的に構築することができる。本研究では、『キング・オブ・ファイターズ』シリーズの美少年キャラクターであるアッシュ・クリムゾンを対象とする。目的は、彼の発話における女性語と男性語の使い方を明らかにすること、そして男性語が女性語よりどの程度多く使われているかを分析することである。さらに、社会言語学の視点から、フィクションにおけるジェンダー表現としての言語使用を考察する。本研究は記述的質的研究の方法を用い、データはバトル中やキャラクター間のやり取りにおけるボイスラインである。分析には、大川のジェンダー言語分類理論、岡本の言語とジェンダー理論、そして金水の役割語の概念を用いた。 結果として、アッシュ・クリムゾンの発話には女性語と男性語の両方が見られるが、多くはカジュアルで中立的な言い方となっている。また、データにおいては男性語のほうが明らかに多く用いられており、女性語は現実に見られる典型的な形ではあまり確認されなかった。しかし、イントネーションや語彙の選択、からかいや挑発的な話し方によって、女性的なニュアンスも感じられる。これは、実際のジェンダー言語をそのまま反映したものではなく、キャラクター形成のための役割語であることを示すものである。以上のことから、フィクションにおける女性語と男性語の使用は、現実の言語をそのまま反映するものではなく、キャラクターの個性やイメージを構築するための手段であるといえる。このことは、ゲームなどのメディアにおける言語が、ジェンダーのイメージを形成する役割も担っていることを示している。 キーワード：女性語、男性語、役割語、社会言語学、フィクションキャラクター。
ANALISIS PENGGUNAAN SUFIKS NIN (~人) DAN SHA (～者) PADA KORAN EDISI JANUARI ~ APRIL 2026 : KAJIAN MORFOSEMANTIK
Penelitian ini membahas penggunaan sufiks ～人 (-nin) dan ～者 (-sha) dalam jukugo pada artikel berita berbahasa Jepang yang diterbitkan oleh NHK News, Sankei Shinbun, dan Asahi Shinbun periode Januari hingga April 2026. Penelitian ini bertujuan untuk mendeskripsikan klasifikasi jukugo, pola pembentukan kata, dan perubahan makna sufiks ～人 dan ～者 melalui pendekatan morfosemantik. Metode yang digunakan dalam penelitian ini adalah deskriptif kualitatif. Data penelitian berupa 30 jukugo yang mengandung sufiks ～人 dan ～者 yang diperoleh melalui teknik simak dan catat. Hasil penelitian menunjukkan bahwa jukugo dengan sufiks ～人 dan ～者 dapat diklasifikasikan ke dalam kategori identitas atau kelompok, numeralia, relasi sosial, peran sosial, pelaku tindakan, profesi, dan status. Sufiks ～人 cenderung menunjukkan identitas, jumlah, dan relasi sosial, sedangkan sufiks ～者 lebih dominan menunjukkan pelaku tindakan, profesi, dan status tertentu. Selain itu, penggunaan kedua sufiks tersebut menunjukkan adanya perubahan makna dari konsep umum menjadi referensi manusia dalam konteks sosial tertentu.
The Forms and Functions of Sonkeigo in Departure Services for WCHR (Wheelchair Ramp) Category Wheelchair Passengers at Tokyo Haneda Airport: A Pragmatic Analysis
This study aims to identify the morphological variations and analyze the pragmatic functions of sonkeigo (尊敬語) used in departure services for WCHR (Wheelchair Ramp) passengers at Haneda Airport, Tokyo. The unique characteristics of WCHR passengers, who can walk short distances but require wheelchairs for long distances, demand staff to offer assistance without neglecting the passengers' autonomy. Utilizing a descriptive qualitative method with a pragmatic orientation, data comprising airport staff utterances were collected through participant observation during a one-year internship and documented in fieldnotes. From a total corpus of 75 service utterances, 17 utterances containing sonkeigo were analyzed based on the Keigo no Shishin (2007) guidelines and interpreted using the theories of wakimae, face, politeness principles, and rapport management. The results reveal three main morphological forms of sonkeigo: grammatical sonkeigo with the お／ご～になる pattern (8 data), copula sonkeigo with the ～でいらっしゃる pattern (6 data), and lexical sonkeigo (3 data). Pragmatically, sonkeigo serves four functions: the realization of institutional norms (wakimae), the mitigation of threats to the passengers' negative face, the implementation of politeness principles, and a tool for managing passenger autonomy, which predominantly appear during the post-immigration phase. In conclusion, sonkeigo functions not merely as grammatical politeness but as a strategic communication mechanism to maintain professional service quality while simultaneously acknowledging the independence of WCHR passengers. Keywords: sonkeigo, pragmatic functions, wakimae, rapport management, WCHR passenger
ANALISIS SEMIOTIKA VISUAL TERHADAP MAKNA ONOMATOPE GIONGO DALAM MANGA “JIBAKU SHOUNEN HANAKO-KUN” VOL. 1 KARYA AIDAIRO
This study examines the meanings of giongo onomatopoeia (擬音語) in the manga Jibaku Shounen Hanako-kun Vol. 1 by AidaIro using Roland Barthes’ visual semiotics theory. Giongo onomatopoeia, which represents sounds produced by inanimate objects and natural phenomena, frequently appears in Japanese manga; however, it has received limited attention from the perspective of visual semiotics, particularly in the horror-fantasy genre. This research employs a qualitative descriptive-analytical method. Data were collected through the observation method and verified using the Japanese Onomatopoeia Dictionary by Ono Masahiro (2007). Of the 70 data identified and analyzed, 15 were selected as representative samples for analysis based on Barthes’ three levels of meaning: denotation, connotation, and myth. The findings reveal that giongo onomatopoeia not only represents sounds but also contributes to the construction of horror atmospheres, tension, and Japanese cultural values through typographic elements such as font size, thickness, and sound repetition. Furthermore, the study found that onomatopoeia sharing the same denotative meaning can generate different connotative meanings and myths depending on the visual context and situational setting of a scene. These findings highlight the importance of a semiotic approach in understanding and translating onomatopoeia in manga.
THE EFFECTIVENESS OF KATAUNO MEDIA ON KATAKANA READING ABILITY OF EIGHTH-GRADE STUDENTS AT SMPS ASA CENDEKIA
This study was based on students difficulties in reading Katakana characters during Japanese language learning, particularly in recognizing their sounds and distinguishing between characters with similar shapes. The purpose of this study was to examine the effectiveness of the Katauno learning media on students' Katakana reading ability and to investigate students' responses to the use of Katauno in Japanese language learning. The research employed a quasi-experimental method with a nonequivalent control group design. The sample consisted of 30 students in each class. The experimental class used Katauno as the learning media, while the control class used flashcards. Data were collected through pretests, posttests, and a student response questionnaire. Then, the data was analyzed using SPSS version 27. The results showed that there was a significant difference in Katakana reading ability between the experimental and control classes. The N-Gain analysis of the pretest and posttest data from both groups indicated that the experimental group achieved an average N-Gain percentage of 56%, which was categorized as moderately effective, whereas the control group obtained an average N-Gain percentage of 28%, which was categorized as less effective. Furthermore, the results of the student response questionnaire yielded a percentage of 87.3%, indicating a very good level of student response. Therefore, it can be concluded that Katauno is moderately effective in teaching Katakana characters and received positive responses from the students.
Development of "KotobaLink" for Learning Basic Japanese Vocabulary
This study aims to develop the KotobaLink for learning basic Japanese vocabulary and to determine how feasible this developed media is. KotobaLink is a card game that combines the concepts of shiritori and dominoes to help learners recognize and remember Japanese vocabulary written in hiragana and katakana characters. This study uses the Research and Development (R&D) method with the ADDIE model, which includes the stages of analysis, design, development, implementation, and evaluation. The research data was gathered through expert validation questionnaires and student response questionnaires. This data was then analyzed using a quantitative descriptive analysis technique. The validation results showed that the media received a score of 98.57% from media experts and 80.00% from material experts, resulting in an overall average of 89.63%, which is categorized as highly feasible. Furthermore, the student responses received a score of 89.77%, which also falls into the highly feasible category. Based on these findings, it can be concluded that the KotobaLink learning media is suitable and feasible to be used as a learning tool for basic Japanese vocabulary.
ANALISIS METAFORA ONTOLOGIS PADA LIRIK LAGU DALAM ALBUM THE BOOK 2 ザ・ブック・ツー KARYA YOASOBI
This study investigates the types and cognitive functions of ontological metaphors in Yoasobi’s album The Book 2. Employing a descriptive qualitative design and documentation method, this research analyzes how these metaphors represent characters' emotions based on the frameworks of Lakoff and Johnson, and Kövecses. The results revealed 36 ontological metaphors: 15 container metaphors, 12 personifications, and 9 entity metaphors. Furthermore, 27 data points focus on the behavioral response to emotion, while 9 data points focus on both cause and response. In conclusion, Yoasobi predominantly utilizes entities as conceptualizations to convey emotion, primarily focusing on behavioral responses. These metaphors successfully map complex emotional experiences into concrete imagery, enabling listeners to easily conceptualize the characters' feelings. Keywords: Ontological Metaphor, Yoasobi, Cognitive Function
BENTUK DAN MAKNA GAIRAIGO OTSUKARE SUMMER DAN TANDEM KARYA HALCALI
This study discusses the forms and meanings of gairaigo found in the song lyrics of Otsukare Summer and Tandem by the Japanese music group HALCALI. The background of this research is the extensive use of gairaigo in modern Japanese songs, where these loanwords not only retain their original meanings from the source language but also experience semantic shifts according to their contextual usage in song lyrics. This study aims to analyze the formation processes of gairaigo and to explain their lexical meanings, contextual meanings, and semantic shifts found in both songs. This research employs a qualitative descriptive method with semantic and semiotic approaches. The data sources are the lyrics of Otsukare Summer and Tandem from the album Bacon. Data were collected through observation and note-taking techniques, while data analysis was conducted using Setiawan’s (2014) classification of gairaigo and Charles Sanders Peirce’s triangle of meaning theory, consisting of representamen, object, and interpretant. This study indicates that the use of gairaigo in song lyrics functions not only as borrowed vocabulary but also as an artistic expression reflecting the dynamics of modern Japanese language. Keywords: gairaigo, contextual meaning, semantics, semiotics, Japanese song lyrics, HALCALI
JENIS METAFORA DAN MAKNA KONOTATIF DALAM LIRIK LAGU BAHASA JEPANG ALBUM MY RESPECT KARYA NOGIZAKA46
Penelitian ini bertujuan untuk mendeskripsikan jenis metafora serta makna konotatif pada lirik lagu bahasa Jepang dalam album My Respect karya Nogizaka46. Berbeda dengan penelitian sebelumnya, penelitian ini menganalisis jenis metafora sekaligus makna konotatif secara terpadu sehingga memberikan gambaran hubungan antara bentuk metafora dan nilai rasa dalam lirik lagu bahasa Jepang. Penelitian ini menggunakan metode kualitatif dengan pendekatan deskriptif, dengan data berupa kata maupun potongan lirik lagu yang mengandung metafora. Data tersebut dikumpulkan melalui metode simak dan teknik catat, kemudian dianalisis berdasarkan jenis metafora serta nilai rasa yang terkandung di dalamnya. Hasil penelitian menunjukkan bahwa terdapat 155 data metafora yang terbagi ke dalam empat jenis, yaitu metafora dari konkret ke abstrak sebanyak 134 data, metafora antropomorfis sebanyak 15 data, metafora sinaestetik sebanyak 3 data, dan metafora binatang sebanyak 3 data. Berdasarkan nilai rasanya, ditemukan 89 data bermakna konotatif positif dan 66 data bermakna konotatif negatif. Hasil ini menunjukkan bahwa lirik lagu dalam album My Respect cenderung menggambarkan pengalaman dan perasaan yang bersifat abstrak, seperti mimpi, harapan, cinta, dan waktu, melalui citra yang lebih konkret agar pesannya lebih mudah dipahami oleh pendengar. Sebaliknya, sedikitnya temuan metafora binatang dan sinaestetik menunjukkan bahwa kedua jenis tersebut jarang digunakan karena memiliki karakteristik yang lebih khusus dan kompleks. Adapun dari segi makna konotatif, lebih banyaknya makna konotatif positif dibandingkan makna konotatif negatif sejalan dengan tema album yang didedikasikan sebagai bentuk penghormatan antargenerasi, sehingga lirik cenderung menyampaikan harapan, semangat, serta kenangan yang membahagiakan.
ANALISIS MAKNA ONOMATOPE GIONGO DALAM MANGA NINGEN NO KAIKATA (ニンゲンの飼い方) KARYA PIETA
Onomatopoeia refers to words that imitate sounds or noises and are commonly used in comics to enhance expressive effects. One type of onomatopoeia is giongo, which represents the sounds produced by inanimate objects or natural phenomena. This study aims to classify the forms and analyze the lexical and contextual meanings of giongo in the fantasy slice-of-life manga Ningen no Kaikata by Pieta. This study employed a descriptive qualitative approach. The data were collected directly from the original manga as the primary data source, classified and presented in tables, and then analyzed using semantic theory. The results indicate that the giongo found in Ningen no Kaikata can be classified into six forms: base forms, sound shortening, sound lengthening, morpheme repetition, sound addition, and partial sound changes. Among these, base forms are the most frequently occurring. Furthermore, the analysis shows that most giongo have contextual meanings that correspond to their lexical meanings. However, some giongo have meanings that can only be understood through context because no lexical equivalents were found in the reference sources. Therefore, the meaning of giongo is determined not only by its lexical meaning but also by the context and visual presentation within the manga. Keywords: Lexical Meaning, Contextual Meaning, Giongo, Manga, Ningen no Kaikata.
EFEKTIVITAS TEKNIK SHADOWING BERBASIS LAGU HARUHIKAGE (春日影) TERHADAP KEMAMPUAN PELAFALAN KOSAKATA PADA PEMBELAJAR BAHASA JEPANG SISWA KELAS XI SMAN 7 SURABAYA
This study aimed to measure the effectiveness of using the Japanese song Haruhikage (春日影) as a supplementary learning medium and to examine its impact on student motivation. The research employed a quasi-experimental method using a pre-test and post-test control group design. The participants consisted of 30 students from SMAN 7 Surabaya, divided into two groups: 15 students in the control group and 15 students in the experimental group. Data were collected through pre-tests, post-tests, and questionnaires, and were analyzed using N-Gain analysis and independent sample t-tests. The results showed that the experimental group achieved an N-Gain score of 0.656, which falls into the moderate category, with an effectiveness level of 65.6%, indicating that the treatment was moderately effective. Furthermore, questionnaire results revealed that 86.67% of the students responded positively and reported feeling happy and motivated when learning Japanese using the song Haruhikage (春日影) as a supporting learning medium. Based on these findings, it can be concluded that the shadowing technique using the song Haruhikage (春日影) is effective in improving the Japanese pronunciation skills of beginner learners. In addition to enhancing learning outcomes, the use of Japanese songs can also increase students' motivation and engagement in the Japanese language learning process.
ANALISIS YAKUWARIGO PADA SERIAL ANIME OVERLORD SEASON 1 KARYA KUGANE MARUYAMA 丸山くがね
Penelitian ini menganalisis penggunaan yakuwarigo (役割語) atau 'bahasa peran' pada lima tokoh utama dalam serial anime Overlord Season 1 karya Kugane Maruyama. Tujuan penelitian adalah mendeskripsikan: (1) bentuk yakuwarigo berdasarkan klasifikasi Kinsui (2003) beserta fungsi penggunaannya, dan (2) karakteristik penggunaan yakuwarigo dalam membentuk register karakter berdasarkan teori enregisterment Agha (2007). Penelitian menggunakan pendekatan kualitatif deskriptif-analitis dengan metode Simak Bebas Libat Cakap (SBLC) dan teknik catat. Analisis dilakukan melalui metode agih dan padan pragmatis yang mengintegrasikan teori Kinsui (2003) dengan teori enregisterment Agha (2007). Data berjumlah 35 tuturan dari lima tokoh utama: Ainz Ooal Gown, Albedo, Demiurge, Shalltear Bloodfallen, dan Cocytus. Hasil penelitian menemukan empat tipe yakuwarigo: (1) kichiku-go/ouji-go pada Ainz Ooal Gown; (2) kishidan-go tinggi pada Albedo; (3) hakase-go pada Demiurge; (4) onna-go arkais (arinsu-kotoba) pada Shalltear Bloodfallen; serta kishidan-go/bushi-go pada Cocytus. Berdasarkan teori enregisterment Agha (2007), setiap penanda yakuwarigo berfungsi sebagai tindakan performatif yang mereproduksi dan mengindeksikan persona sosial tokoh secara kumulatif dalam konvensi anime fantasi Jepang. Kata Kunci: yakuwarigo; enregisterment; register karakter; anime Overlord; linguistik Jepang
ANALISIS MAKNA HATARAKI CHUUDOKU 「働き中毒」 DALAM ANIME SERIAL SHIROBAKO 「白箱」 KARYA P.A. WORKS KAJIAN SEMIOTIKA ROLAND BARTHES
ABSTRACT This study aims to analyze the denotative, connotative, and mythical meanings of 働き中毒 (hataraki chuudoku) in the anime series Shirobako using Roland Barthes' semiotic approach. This study employed a descriptive qualitative method. The data source consisted of episodes 1 through 6 of the anime series Shirobako. The research data consisted of verbal and nonverbal signs representing the meaning of hataraki chuudoku. Data were collected using observation and note-taking techniques. The findings revealed 27 data, consisting of 21 verbal data and 6 nonverbal data, from which 33 meaning units were identified, comprising 9 denotative meanings and 24 connotative meanings. At the denotative level, the identified signs depict the characters' work activities during the anime production process. At the connotative level, hataraki chuudoku is represented through three major tendencies: professional responsibility, work pressure, and the sacrifice of time, energy, and physical well-being, with work pressure emerging as the most dominant tendency. At the mythical level, the anime series Shirobako constructs the understanding that working under pressure, prioritizing work, and sacrificing personal time and physical well-being are natural consequences of professionalism in the Japanese animation industry. Keywords: hataraki chuudoku, Roland Barthes, Shirobako, denotative meaning, connotative meaning, mythical meaning 要旨 本研究の目的は、ローラン・バルトの記号論を用いて、アニメ『 SHIROBAKO』における** 働き中毒（はたらきちゅうどく）**のデノテーション、コノテーション、および神話（ミュ トス）の意味を分析することである。本研究は質的記述研究法を採用した。研究対象はアニ メ『SHIROBAKO』第1話から第6話までである。分析対象データは、働き中毒の意味を表す 言語記号および非言語記号である。データ収集は観察法および記録法によって行い。分析の 結果、27件のデータ（言語データ21件、非言語データ6件）が得られ、これらのデータから33 件の意味単位（デノテーション9件、コノテーション24件）が抽出された。デノテーションの レベルでは、各記号はアニメ制作過程における登場人物の労働活動を示している。一方、コ ノテーションのレベルでは、働き中毒は「仕事に対する責任感」「仕事上のプレッシャー」 「時間・労力・身体的健康の犠牲」という三つの主要な傾向として表象され、その中でも仕 事上のプレッシャーが最も支配的な意味として確認された。さらに、神話のレベルでは、 『SHIROBAKO』は、強いプレッシャーの下で働くこと、仕事を最優先すること、そして時 間や身体的健康を犠牲にすることが、日本のアニメーション業界におけるプロフェッショナ リズムの当然の帰結であるという理解を構築していることが明らかとなった。 キーワード: 働き中毒、ローラン・バルト、SHIROBAKO、デノテーション &コノテーション、神話
THE REPRESENTATION OF DIFFERENTIATED INSTRUCTION BY KORO-SENSEI IN THE ANIME ANSATSU KYOUSHITSU DIRECTED BY SEIJI KISHI
Abstrack The diversity of learners' characteristics necessitates instructional approaches capable of accommodating differences in needs, learning readiness, interests, and individual potential. One approach relevant to addressing these needs is differentiated learning. This study aims to analyze the representation of differentiated learning demonstrated by the character Koro-sensei in the anime Ansatsu Kyoushitsu (Assassination Classroom), employing Tomlinson's theory of differentiated instruction—which encompasses content, process, and product differentiation—supported by the concepts of the Zone of Proximal Development (ZPD), scaffolding, and student-centered learning. This study employs a descriptive qualitative approach with a content analysis method applied to 47 episodes of the first and second seasons of Ansatsu Kyoushitsu. Data were collected through passive participant observation and documentation in the form of dialogue transcripts, field notes, and scene screenshots, which were then analyzed using the Miles, Huberman, and Saldaña model comprising data reduction, data display, and conclusion drawing. The findings indicate that Koro-sensei represents content differentiation through the adjustment of learning materials based on students' readiness, needs, and potential; process differentiation through the implementation of flexible instructional strategies, individual tutoring, collaborative learning, and adaptive feedback; and product differentiation through the provision of varied forms of learning outcomes tailored to students' characteristics. This representation is further shown to align with the principles of the ZPD, scaffolding, and student-centered learning. Keyword: differentiated instruction, Zone of Proximal Development (ZPD), scaffolding, student-centered learning, Ansatsu Kyoushitsu. 要旨 学習者の特性の多様性は、個々のニーズ、学習レディネス、興味、そして潜在能力の違いに対応できる教育の実践を必要とする。こうしたニーズに応える上で有効なアプローチの一つが、個に応じた学びである。本研究は、アニメ『暗殺教室』に登場する殺せんせーが示す個に応じた学びの表象を、キャロル・アン・トムリンソンの提唱する内容、過程、成果物の三側面から成る差別化教授理論を用いて分析し、さらに発達の最近接領域、スキャフォールディング、学習者中心の学びの概念によってこれを補完的に検討することを目的とする。本研究では、質的記述的アプローチを採用し、『暗殺教室』第1期および第2期全47話を対象に内容分析の手法を用いた。データは、受動的参与観察および会話の書き起こし、フィールドノート、場面のスクリーンショットといった資料の収集を通じて得られ、その後、Miles、Huberman、Saldaña によるモデル、すなわちデータの縮約、データの提示、結論の導出の過程に基づいて分析された。研究の結果、殺せんせーは、学習者の学習レディネス、ニーズ、潜在能力に応じた教材の調整を通じて内容の差別化を、柔軟な指導方略の実践、個別指導、協働学習、適応的なフィードバックの提供を通じて過程の差別化を、そして学習者の特性に応じた多様な学習成果物の提供を通じて成果物の差別化を、それぞれ表象していることが明らかとなった。さらに、この表象はZPD、スキャフォールディング、学習者中心の学びの原則とも整合性を示していることが確認された。 キーワード: 差異化学習、最近接発達領域（ZPD）、スキャフォールディング、学習者中心の学び、暗殺教室
ANALISIS MAJAS METAFORA PADA ALBUM SECRET DE NUIT (夜行秘密) KARYA INDIGO LA END
This study was motivated by the extensive use of metaphors in Indigo La End’s album Secret de nuit. The album features reflective lyrics that depict the continuous phases of human sorrow. This study aim to identify the types of metaphors and analyze the meanings contained in ten song lyrics from the album. This study employs a descriptive qualitative approach, utilizing Lakoff and Johnson’s conceptual metaphor theory and Gorys Keraf’s theory of meaning. The research data consists of lyrics from ten songs, analyze using the observe-and- record technique.The results indicate the presence of three types of metaphors: structural metaphors, used to understand a concept through a more complex concept; ontological metaphors, used to represent abstract concepts as a concrete entities; Orientational metaphors, used to describe conditions through spatial orientation. Of the total 61 metaphors identified, ontological metaphors were the most frequently found, followed by the structural metaphors, while orientational metaphors were found in small numbers. This indicates that abstract concepts in song lyrics are more often understood as tangible entities and represented in the form of physical objects or experiences. Thus, metaphors in song lyrics serve not only as a stylistic device but also as a means of understanding and expressing emotional experiences. Keywords: Metaphor, meaning, Indigo La End ABSTRACT 本研究は、Indigo La Endのアルバム「夜行秘密」において比喩が広く用いられていることに着想を得たものである。同アルバムは、人間の悲しみの絶え間ない変遷を描き出す内省的な歌詞が特徴である。本研究の目的は、同アルバム収録の10曲の歌詞に含まれる比喩の種類を特定し、その意味を分析することである。本研究では、記述的定性アプローチを採用し、ラコフとジョンソンの概念的比喩理論およびゴリス・ケラフの意味論を活用する。研究データは10曲の歌詞から構成され、「観察・記録法」を用いて分析を行った。 その結果、3種類のメタファーが存在することが明らかになった。すなわち、より複雑な概念を通じてある概念を理解するために用いられる「構造的メタファー」、抽象的な概念を具体的な実体として表現するために用いられる「存在論的メタファー」、そして空間的な方向性を通じて状況を記述するために用いられる「方向的メタファー」である。特定された計61のメタファーのうち、存在論的メタファーが最も多く見られ、次いで構造的メタファーが多く、方向的メタファーは少数であった。これは、歌の歌詞における抽象的な概念が、より頻繁に具体的な実体として理解され、物理的な物体や経験の形で表現されていることを示している。したがって、歌の歌詞におけるメタファーは、単なる文体の手段としてだけでなく、感情的な経験を理解し表現する手段としても機能している。 キーワード：メタファー、意味、インディゴ・ラ・エンド
ANALISIS STRATEGI KESANTUNAN PADA PASANGAN UJARAN DALAM DRAMA JEPANG KOCCHI MUITE YO MUKAI-KUN PRODUKSI ERIKO MIKAMI
ABSTRACT This study examines the types of adjacency pairs and the politeness strategies used by characters in the Japanese television drama Kocchi Muite yo Mukai-kun. Using a descriptive qualitative method, data were collected through non-participant observation and note-taking techniques, then analyzed based on Levinson's (1983) and Yule's (1996) theory of adjacency pairs and Brown and Levinson's (1987) politeness strategy theory. From 157 adjacency pair data, seven types were identified: greeting-greeting (16), question-answer (47), request-acceptance/refusal (34), offer-acceptance/refusal (12), invitation-acceptance/refusal (18), apology-response (17), and thanks-response (13), with question-answer being the most dominant. In terms of politeness, three of Brown and Levinson's four strategies were found: bald on record (3), positive politeness (79), and negative politeness (17), while off record was absent. Positive politeness was the most frequently used strategy, reflecting the characters' tendency to maintain warmth and closeness. Additionally, 58 adjacency pairs showed dissimilar politeness strategies between the first and second pair parts, forming six combination patterns, with negative politeness–positive politeness being the most dominant (30 data). Keywords: adjacency pairs, Japanese drama, Kocchi Muite yo Mukai-kun, politeness strategy, pragmatics 要旨 本研究は、日本のドラマ「こっち向いてよ向井くん」の会話に見られる隣接応答対の種類と、登場人物が用いる丁寧さの方策を明らかにすることを目的とする。質的記述的方法を用い、レビンソン（1983）とユール（1996）の隣接応答対理論、及びブラウンとレビンソン（1987）の丁寧さの方策理論に基づいて分析した。157件のデータを分析した結果、質問－答え（47件）を中心に七種類の隣接応答対が見られた。丁寧さの方策では、積極的丁寧さ（79件）が最も多く、次いで消極的丁寧さ（17件）、直接的方策（3件）が見られ、間接的方策は見られなかった。また、58件で第一発話部分と第二発話部分の方策が異なり、消極的－積極的丁寧さの組み合わせが最も多かった（30件）。 キーワード： 隣接応答対、丁寧さの方策、語用論、日本ドラマ、こっち向いてよ
THE FORM AND THE MEANING OF ONOMATOPOEIA AT LIGHT NOVEL SUZUME NO TOJIMARI (すずめの戸締り) BY MAKOTO SHINKAI
Onomatopoeia is an aspect of language that represent the language of nature. It is a symbol of a language that many people didn't know it was called onomatopoeia. This research is about the form and the meaning of onomatopoeia at light novel Suzume no Tojimari (すずめの戸締り) by Makoto Shinkai. Qualitative Descriptive (QD) was implemented in this research, with documentative analysis as the technique used for gathering the data about the form and the meaning of onomatopoeia at light novel Suzume no Tojimari (すずめの戸締り) by Makoto Shinkai. The findings disclose that there were 374 data founded for the form category and 447 data founded for the meaning category. In the form category, 75 data were found not to fit into the predetermined classifications. The data were onomatopoeias with two or more form, this was intended to emphasize the impression created when the onomatopoeia was used. In the meaning category, there were onomatopoeias with two or more meaning, depend on the context of the sentence or dialogue where the onomatopoeia was used.
ANALYSIS OF JAPANESE LANGUAGE SUMMATIVE TEST ITEMS FOR GRADE 11 ODD SEMESTER 2025/2026 AT SMK PGRI 13 SURABAYA
Item analysis is conducted to determine the quality of a test instrument so that it can serve as evaluation material for developing better test items. This study aims to describe the quality of the odd-semester summative test items for the Japanese Language subject in grade XI of SMK PGRI 13 Surabaya based on validity, reliability, distractor effectiveness, difficulty level, and discriminating power. This study employed a quantitative descriptive method. The object was 30 multiple-choice items from the odd-semester summative test in the 2025/2026 academic year, with 178 grade XI students as the subjects. The data were obtained through documentation in the form of test items, answer keys, and students' answer sheets, then analyzed using the Anates V4 program. The results showed that all items were valid, consisting of 4 items in the high category, 24 in the medium category, and 2 in the low category. The test reliability obtained a coefficient of 0.90, categorized as very high. The distractor effectiveness consisted of 47 very good options, 34 good, 22 fairly poor, 12 poor, and 5 very poor. The difficulty level showed 16 medium items and 14 difficult items. The discriminating power consisted of 3 very good items, 24 good, and 3 sufficient. Based on these results, it can be concluded that the item quality generally meets good criteria; however, some items still require improvement.
A SOCIOLINGUISTIC STUDY: THE SOCIAL FUNCTIONS OF THE USE OF GIFU DIALECT IN THE FILM KIMI NO NA WA
Regional dialect is a form of language variation that reflects regional identity and serves social functions in communication. This study aims to describe the use of the Gifu dialect and analyze its social functions in interactions among characters in Makoto Shinkai's film Kimi no Na wa. This study employs a descriptive qualitative method. The data consist of characters' utterances containing elements of the Gifu dialect. Data were collected through observation and note-taking techniques and analyzed based on dialect theory and language function theory. The results reveal that 49 utterances containing Gifu dialect features were identified, including lexical and grammatical variations, as well as the use of copulas, particles, and negative forms. The social functions identified include interpersonal, referential, personal, and directive functions, with the interpersonal function being the most dominant. Therefore, the use of the Gifu dialect in Kimi no Na wa not only represents linguistic variation but also plays an important role in supporting social functions in interactions among the characters. Keywords: sociolinguistics, Gifu dialect, social functions, Kimi no Na wa
ANALISIS KESALAHAN MENULIS SERTA MELATINKAN HURUF HIRAGANA PADA SISWA KELAS XII BAHASA SMA NEGERI 1 WARU SIDOARJO TAHUN AJARAN 2025/2026
Abstract This study aims to describe the types of errors and the factors causing errors in romanizing and writing Japanese hiragana characters among students. The background of this research is based on the fact that various difficulties are still encountered by students in understanding and writing Japanese hiragana characters. This study employs a qualitative approach with a descriptive research design. The subjects of this research are students studying Japanese at the senior high school level, specifically in Grade 12 language class at SMAN 1 Waru. Data collection techniques were carried out through observation, test questions, and questionnaires. The data obtained were then analyzed by identifying, classifying, and describing the forms of errors made by the students. The results of the study indicate that students still make errors in romanizing and writing hiragana characters. The discussion results show that in romanizing and writing hiragana, students have not fully mastered hiragana characters, especially those with similar shapes, characters using diacritical marks (tenten and maru), combination characters, long vowels, and double consonants. Students made both mistakes and errors due to a lack of understanding in learning hiragana. The factors causing students' learning difficulties show that internal factors are more dominant than external factors in influencing these difficulties. It can be concluded that students' learning difficulties are more influenced by internal factors rather than external ones. Keywords: error analysis, romanizing, writing, hiragana characters, learning difficulty factors. 要旨 本研究は、日本語のひらがなのローマ字表記および書字における誤りの形態と、その誤りの原因要因を明らかにすることを目的とする。本研究の背景には、学習者がひらがなの理解および書字において依然としてさまざまな困難を抱えていることが挙げられる。本研究は質的アプローチを用いた記述的研究である。研究対象は、高等学校レベルで日本語を学習しているSMAN 1 Waruの12年生（言語クラス）の生徒である。データ収集は、観察、テスト問題、およびアンケートによって行われた。収集されたデータは、生徒が行った誤りの形態を特定し、分類し、記述することによって分析された。研究結果から、生徒はひらがなのローマ字表記および書字において依然として誤りを犯していることが明らかになった。考察の結果、生徒はひらがなを完全には理解しておらず、特に形が類似している文字、濁点・半濁点を伴う文字、拗音、長音、促音などにおいて誤りが見られた。また、ひらがなの学習に対する理解不足により、ミステイクおよびエラーの両方が確認された。学習困難の要因としては、外的要因よりも内的要因の方がより大きく影響していることが示された。したがって、生徒の学習困難は主に内的要因によるものであると結論づけられる。 キーワード：誤り分析、ローマ字、書き、ひらがな、学習困難要因
ANALISIS MAJAS PERBANDINGAN DALAM LIRIK SERI LAGU 愛言葉 KARYA DECO*27
This research is motivated by the use of figurative language in modern Japanese popular songs. This study aims to identify the types of comparative figures of speech and interpret the connotative meanings in the lyrics of the Ai Kotoba song series by DECO27 based on the theories of Burhan Nurgiyantoro and Roland Barthes. This qualitative descriptive study examines data in the form of phrases and sentences containing comparative figures of speech in the lyrics of the first to fifth installments of the Ai Kotoba series. Data collection utilized the observation method (metode simak) with the tapping technique (teknik sadap), non-participatory observation technique (Simak Bebas Libat Cakap / SBLC), and note-taking technique. Data analysis was conducted using the referential identity method (metode padan referensial) through the dividing-determining element technique (Pilah Unsur Penentu / PUP) and the equating-comparing technique (Hubung Banding Menyamakan / HBS). The results show that there are 27 data points of comparative figures of speech, including simile (1 datum), metaphor (21 data points), personification (2 data points), and allegory (3 data points). Metaphor dominates because it is used to manifest abstract emotional concepts such as love, loyalty, and gratitude into more natural concrete objects. In conclusion, this study proves that comparative figures of speech do not merely beautify the lyrics, but rather function as a means of internal communication that connects the composer (DECO27), Hatsune Miku, and the listeners. Keywords: Comparative Figures of Speech, Connotative Meaning, Referential Identity Method, DECO*27, Ai Kotoba.
A SEMIOTIC ANALYSIS OF NONVERBAL COMMUNICATION AND JAPANESE SIGN LANGUAGE (NIHON SHUWA) IN EPISODES 1–5 OF THE DRAMA SILENT BY MIKU UKUBATA
The gap in language proficiency between the hearing and deaf communities creates complex barriers to cross-sensory interpersonal interaction; therefore, this study focuses on the mechanisms for addressing this language gap through the visual sign system used in the Japanese drama series Silent (Episodes 1–5). To dissect the asymmetry in auditory and vocal channels among the characters, the primary analysis employed Charles Sanders Peirce’s triadic relationship (Representamen, Object, Interpretant), supported by a trichotomous classification of objects (icon, index, symbol) as a complementary tool to refine the categorization of signs, which is then combined with the visual phonological parameters of sign language and the concept of grammatical facial expressions. Through a qualitative descriptive approach using the documentation method, the data reduction process successfully collected a total of 30 data units, with the discussion limited in depth to 10 key data points that play the most crucial roles in the storyline and the strength of the analysis. Using a triadic analytical framework reinforced by this object-based trichotomy, the research findings indicate that natural nonverbal elements (ocular, kinesic, proxemic, haptic, and object mediation) are classified within the realm of Indexical Signs (Index) because they operate on the basis of direct causal relationships, where these signs are shown to function effectively as conveyors and harmonizers of emotions and messages in the pre-speech phase to set the tone of the discourse. Meanwhile, the manual sign system of Nihon Shuwa (Japanese Sign Language), finger spelling (yubimoji), and its expanded substitute media (digital text-to-speech -Speech and written orthography) are classified within the realm of Symbolic Signs (Symbols) because their meanings are based on social conventions and agreed-upon syntactic rules, in which the non-manual facial components function as Grammatical Facial Expressions with standard morphosyntactic functions. This study concludes that the operation of the three main triadic elements, supplemented by the object trichotomy framework, empirically demonstrates the role of sign language and its substitute media as a bridge of communication that offers absolute stability of meaning to neutralize biological asymmetry, break down sociolinguistic barriers, and construct an inclusive and equitable discursive space.
PENGEMBANGAN MEDIA KARTU KENTABI CARD SEBAGAI SARANA PENGENALAN BUDAYA KERJA NYATA BAGI TRAINEE LEMBAGA PELATIHAN KERJA (LPK)
Penelitian ini bertujuan untuk mengembangkan media kartu Kentabi Card serta mengetahui kelayakannya sebagai media pengenalan budaya kerja nyata bagi trainee Lembaga Pelatihan Kerja (LPK). Penelitian ini menggunakan metode Research and Development (R&D) dengan model ADDIE yang terdiri atas lima tahap, yaitu Analysis, Design, Development, Implementation, dan Evaluation. Media dikembangkan dan divalidasi oleh satu ahli materi dan satu ahli media dari Program Studi S1 Pendidikan Bahasa Jepang Universitas Negeri Surabaya, serta diuji coba kepada 7 trainee LPK Hakusa Edu Japan. Data dikumpulkan melalui wawancara dan angket skala Likert, kemudian dianalisis menggunakan statistik deskriptif kuantitatif. Hasil penelitian menunjukkan bahwa Kentabi Card dikembangkan dalam bentuk kartu ilustrasi digital yang memvisualisasikan alur prosedural dari LPK hingga lingkungan kerja di Jepang. Validasi ahli materi memperoleh persentase 94% dan ahli media sebesar 98,1% dengan kategori “Sangat Layak”. Hasil uji coba pengguna memperoleh persentase 93,1% dengan kategori “Sangat Layak” serta menunjukkan respons positif dari trainee. Berdasarkan hasil tersebut, Kentabi Card dinyatakan layak digunakan sebagai media pembelajaran pengenalan budaya kerja nyata di Jepang bagi trainee LPK. Kata kunci: media pembelajaran, kartu ilustrasi digital, Kentabi Card, budaya kerja Jepang, R&D, ADDIE
An Analysis of Metaphorical Expressions in Ajin Season 1 and 2 by Sakurai Gamon
This study investigates the forms, functions, and contexts of metaphorical expressions in Ajin Season 1 and 2 by Sakurai Gamon. Using a descriptive qualitative approach and Lakoff and Johnson's (1980) conceptual metaphor theory, the study analyzes metaphorical utterances collected through observation and note-taking. The findings reveal five types of metaphors: structural, orientational, ontological, anthropomorphic, and zoomorphic, with ontological metaphors occurring most frequently. Metaphors function to strengthen narrative development, characterize the characters, create emotional impact, and convey social criticism and ideological perspectives. Their emergence is influenced by the characters' emotions, conflicts, ideologies, and the need to reinforce meaning within the story. Keywords: metaphor, conceptual metaphor, Ajin, Lakoff and Johnson, cognitive linguistics.
PENGEMBANGAN MEDIA ‘NIHONGO TWISTER’ DALAM PEMBELAJARAN HURUF KANA DALAM KOSAKATA BAHASA JEPANG PADA BUKU ‘NIHONGO KIRA-KIRA’ BAB 1-4
ABSTRAK Penelitian ini bertujuan mendeskripsikan proses pengembangan media pembelajaran Nihongo Twister pada pembelajaran kosakata bahasa Jepang yang bersumber dari buku Nihongo Kira-Kira Bab 1–4 serta mendeskripsikan respons peserta didik terhadap penggunaannya. Penelitian menggunakan metode Research and Development (R&D) mengacu pada model Sugiyono hingga tahap uji coba produk. Subjek penelitian berjumlah 20 peserta didik kelas XI.12 SMA Muhammadiyah 2 Surabaya. Data dikumpulkan melalui wawancara, validasi ahli media dan ahli materi, tes (pretest dan posttest), serta angket respons peserta didik, kemudian dianalisis menggunakan uji validitas, reliabilitas, normalitas, dan Wilcoxon Signed-Rank Test. Hasil penelitian menunjukkan bahwa media Nihongo Twister berhasil dikembangkan sebagai media pembelajaran berbasis permainan kartu yang layak digunakan. Hasil analisis menunjukkan adanya peningkatan kemampuan penguasaan kosakata bahasa Jepang peserta didik setelah menggunakan media, yang didukung oleh nilai signifikansi Wilcoxon Signed-Rank Test < 0,001. Selain itu, angket respons peserta didik memperoleh rata-rata persentase 81,43% dengan kategori sangat puas. Dengan demikian, media Nihongo Twister layak digunakan sebagai media pendukung pembelajaran kosakata bahasa Jepang di sekolah. Kata Kunci : media pembelajaran, Nihongo Twister, kosakata bahasa Jepang, Research and Development (R&D), permainan edukatif. ABSTRACT This study aimed to describe the development process of the Nihongo Twister learning media for teaching Japanese vocabulary based on Nihongo Kira-Kira textbook Chapters 1–4 and to describe students' responses to its implementation. This study employed the Research and Development (R&D) method based on Sugiyono's development model up to the product testing stage. The participants consisted of 20 eleventh-grade students of class XI.12 at SMA Muhammadiyah 2 Surabaya. Data were collected through interviews, expert validation by media and material experts, pre-test and post-test, and student response questionnaires. The data were analyzed using validity, reliability, and normality tests, followed by the Wilcoxon Signed-Rank Test. The results showed that the Nihongo Twister learning media was successfully developed as a card game-based learning medium and was considered suitable for classroom use. The findings also indicated an improvement in students' Japanese vocabulary mastery after using the media, supported by the Wilcoxon Signed-Rank Test with a significance value of < 0.001. In addition, the student response questionnaire obtained an average percentage score of 81.43%, indicating a very positive response to the learning media. Therefore, Nihongo Twister is suitable for use as a supporting medium in Japanese vocabulary learning at schools. Keywords: Learning media, Nihongo Twister, Japanese vocabulary, Research and Development (R&D), educational game.
MAKNA FUNGSI AFEKTIF KANYOUKU DALAM ALBUM アンコール (ENCORE) KARYA BACK NUMBER: KAJIAN SEMANTIK
ABSTRACT This study examines the meaning and affective function of kanyouku (慣用句) in the lyrics of Back Number's album アンコール (Encore). Kanyouku are idiomatic expressions whose meaning cannot be understood merely from their constituent elements, and in song lyrics they serve to express emotion in a more poetic and profound way. This study applies Dedi Sutedi's theory for meaning analysis and Geoffrey Leech's theory for affective meaning and function, using a descriptive qualitative method. Data consist of lyric excerpts containing kanyouku, collected through documentation and note-taking techniques, with idiomatic meanings verified against Imidas 慣用句辞典 and Kotobank. The findings identify 20 kanyouku data across 17 songs, which undergo a shift in meaning from concrete to abstract, particularly those formed from body-part elements (胸, 耳, 目, 手, 口). All kanyouku were also found to carry an affective function in expressing the characters' emotions, such as longing, regret, and self-irony. Keywords: kanyouku, meaning, affective function
KAJIAN SEMANTIK REPRESENTASI EMOSI DALAM LIRIK LAGU SETLIST PAJAMA DRIVE (パジャマドライブ) OLEH AKB48 KARYA YASUSHI AKIMOTO (秋元 康) SKRIPSI
Abstrak Lirik lagu merupakan bentuk penggunaan bahasa yang sarat ekspresi emosi, tetapi emosi tersebut sering kali tidak disampaikan secara eksplisit, melainkan disembunyikan di balik makna konotatif. Penelitian ini bertujuan (1) mengidentifikasi jenis emosi yang direpresentasikan dalam lirik lagu setlist Pajama Drive karya Yasushi Akimoto yang dibawakan oleh AKB48 Team B, dan (2) mendeskripsikan penggunaan aspek semantik konotatif sebagai sarana representasi emosi tersebut. Penelitian ini menggunakan metode kualitatif deskriptif dengan pendekatan semantik yang dipadukan teknik analisis isi (content analysis) terhadap enam belas lirik lagu berbahasa Jepang, dianalisis mengacu pada klasifikasi jenis makna Leech (1981) dan klasifikasi jenis emosi Krech dan Crutchfield (dalam Cahyani dkk., 2025). Hasil penelitian menunjukkan bahwa keenam kategori emosi—mood, emosi terkait orang lain, emosi penilaian diri, emosi primer, emosi penghargaan, dan emosi terkait rangsangan sensoris—seluruhnya ditemukan dalam korpus data, dengan emosi penilaian diri sebagai kategori paling dominan, serta sembilan dari enam belas lagu menunjukkan representasi emosi yang berlapis. Makna konotatif direpresentasikan melalui enam pola utama, yaitu metafora pergerakan dan jarak fisik, metafora alam dan musim, figur mitologis/fantastis/historis, personifikasi, simbol objek dan warna keseharian, serta kontras diksi formal dengan pengalaman personal. Temuan ini menegaskan bahwa makna konotatif berfungsi sebagai jembatan bahasa yang memungkinkan Yasushi Akimoto menyisipkan emosi yang kompleks dan privat ke dalam diksi lirik yang ringan dan sesuai dengan citra idola remaja. Kata Kunci: semantik, makna konotatif, representasi emosi, lirik lagu, AKB48 Abstract Song lyrics are a form of language use rich in emotional expression, in which emotions are often conveyed not explicitly but concealed behind connotative meaning. This study aims to (1) identify the types of emotion represented in the lyrics of the Pajama Drive setlist written by Yasushi Akimoto and performed by AKB48 Team B, and (2) describe the use of connotative semantic meaning as a means of representing those emotions. This study employed a descriptive qualitative method with a semantic approach combined with content analysis on sixteen Japanese-language song lyrics, analyzed based on Leech's (1981) classification of meaning and Krech and Crutchfield's classification of emotion (as cited in Cahyani et al., 2025). The results show that all six categories of emotion—mood, emotion related to others, self-evaluative emotion, primary emotion, appreciation emotion, and sensory-stimulus-related emotion—were found within the corpus, with self-evaluative emotion emerging as the most dominant category, and nine of the sixteen songs displaying layered emotional representation. Connotative meaning was represented through six dominant patterns: metaphors of movement and physical distance, metaphors of nature and seasons, mythological/fantastical/historical figures, personification, symbols of everyday objects and colors, and the contrast between formal diction and personal experience. These findings confirm that connotative meaning functions as a linguistic bridge that allows Yasushi Akimoto to embed complex and private emotions within light, idol-appropriate lyrical diction. Keywords: semantics, connotative meaning, emotion representation, song lyrics, AKB48 要旨 歌詞は感情表現に富んだ言語使用の一形態であるが、その感情は直接的にではなく、含意的意味（connotative meaning）の背後に隠されて表現されることが多い。本研究は，（1）AKB48チームBによって歌われた秋元康作詞の「パジャマドライブ」セットリストの歌詞に表現される感情の種類を明らかにすること，および（2）その感情表現の手段としての含意的な意味論的側面の使用を記述することを目的とする。本研究では，内容分析（content analysis）を組み合わせた意味論的アプローチによる記述的質的研究法を用い、日本語の歌詞16曲を分析対象とした。分析はリーチ（Leech, 1981）の意味分類及びクレッチとクラッチフィールド（カヤニほか，2025年に引用）の感情分類に基づいた。結果，ムード、他者に関する感情、自己評価に関する感情、一次的感情、評価的感情、感覚刺激に関する感情という6つのカテゴリーすべてがデータの中に見出され，自己評価に関する感情が最も優勢なカテゴリーであることが明らかになった。含意的意味は、移動・物理的距離の隠喉、自然・季節の隠喉、神話的・幻想的・歴史的人物像、擬人化、日常の物や色の象徴、形式的な言い回しと個人的経験との対比という6つの主要なパターンを通して表現されていることが明らかになった。 キーワード：意味論、含意的意味、感情表現、歌詞、AKB48
THE TYPES AND FUNCTIONS OF REPETITION IN THE ALBUM DAKARA BOKU WA ONGAKU WO YAMETA だから僕は音楽を辞めた BY YORUSHIKA ヨルシカ (A RHETORICAL STUDY)
Repetisi merupakan salah satu gaya bahasa yang sering ditemukan dalam banyak karya sastra Jepang, termasuk lirik lagu. Album Dakara Boku wa Ongaku wo Yameta dipilih sebagai subjek penelitian karena mengandung berbagai pengulangan kata untuk menggambarkan emosi ataupun perasaan yang disampaikan oleh pengarang. Penelitian ini bertujuan untuk mendeskripsikan jenis dan fungsi repetisi dalam album tersebut. Selain itu, penelitian ini menggunakan metode kualitatif dengan pendekatan deskriptif dengan data yang berupa potongan lirik lagu yang mengandung repetisi. Hasil penelitian ditemukan sebanyak 45 data yang tersebar dalam tujuh jenis repetisi antara lain, Jougouhou 13 data, Joutenhou 13 data, Shukuhanpuku 2 data, Kekkuhanpuku 14 data, Shubidougo 1 data, Rensahou 1 data dan Douzokuhanpuku 1 data. Sedangkan dari segi fungsi, ditemukan fungsi memerkuat isi ekspresi 26 data, fungsi mengungkapkan emosi 11 data, fungsi membangun suasana 3 data dan fungsi menciptakan ritme 5 data. Berdasarkan hasil tersebut, jenis Kekkuhanpuku, Jougouhou, Joutenhou mencakup sebagian besar dari keseluruhan data. Hal ini menunjukan kecenderungan yorushika dalam penggunaan pengulangan diakhir kalimat, secara menyebar maupun secara langsung. Rendahnya temuan jenis repetisi yang lain karena jenis tersebut memiliki struktur yang lebih kompleks. Fungsi menciptakan ritme tidak banyak ditemukan karena tidak semua repetisi memiliki sebuah pertahanan struktur yang sama dengan unsur atau bagian yang dapat tergantikan. Sedangkan membangun suasana karena membutuhkan pengulangan yang melibatkan sensasi yang dapat dirasakan secara indra maupun fisik. Hal ini justru sering ditemukan dalam novel maupun prosa daripada lirik lagu. Kata kunci: repetisi, lirik lagu, yorushika
PERUBAHAN MAKNA GAIRAIGO DARI BAHASA INGGRIS DALAM ANIME TENKI NO KO KARYA 新海誠: ANALISIS SEMANTIK
Abstrak Penelitian ini mengkaji perubahan makna gairaigo berbahasa Inggris yang terdapat dalam film anime Tenki no Ko (天気の子, 2019) karya Makoto Shinkai. Penelitian ini bertujuan (1) mendeskripsikan jenis perubahan makna gairaigo berbahasa Inggris dalam film tersebut berdasarkan teori Ullmann (1962) dan Abdul Chaer (2014), serta (2) mendeskripsikan faktor-faktor yang memengaruhi perubahan makna gairaigo dalam film tersebut berdasarkan teori Ullmann (1962) dan Abdul Chaer (2009, 2014). Penelitian ini menggunakan jenis penelitian kualitatif deskriptif dengan metode analisis konten. Data dikumpulkan melalui teknik Simak Bebas Libat Cakap (SBLC) dan teknik dokumentasi terhadap file subtitle resmi film. Berdasarkan hasil analisis, ditemukan 26 data gairaigo yang mengalami perubahan makna, terdiri atas 2 data perluasan makna, 17 data penyempitan makna, 5 data ameliorasi, dan 2 data peyorasi. Penyempitan makna merupakan kategori paling dominan (65,4%), mencerminkan kecenderungan bahasa Jepang menyerap gairaigo dengan makna yang lebih spesifik. Analisis faktor penyebab mengungkap bahwa faktor sosial (Ullmann) yang sejalan dengan perkembangan sosial budaya masyarakat (Chaer) merupakan pendorong paling dominan, diikuti oleh faktor psikologis yang sejalan dengan asosiasi, sementara faktor bahasa asing hadir sebagai kondisi dasar yang melekat pada seluruh gairaigo yang diserap. Hasil penelitian membuktikan bahwa gairaigo dalam anime Tenki no Ko tidak sekadar berfungsi sebagai kata serapan biasa, melainkan merupakan instrumen linguistik yang digunakan secara artistik oleh kreator untuk menyampaikan makna, emosi, dan pesan sosial kepada penonton. Kata Kunci: gairaigo, perubahan makna, semantik, anime, Tenki no Ko. ABSTRACT This study investigates the semantic change of English-origin gairaigo found in the anime film Tenki no Ko (天気の子, 2019) directed by Makoto Shinkai. The study aims (1) to describe the types of semantic change undergone by English-origin gairaigo based on the theories of Ullmann (1962) and Abdul Chaer (2014), and (2) to describe the factors influencing the semantic change of gairaigo based on the theories of Ullmann (1962) and Abdul Chaer (2009, 2014). This study employs a descriptive qualitative approach using content analysis as its method. Data were collected through the Non-Participatory Observation Technique (SBLC) and documentation of the film's official subtitle file. The analysis identified 26 gairaigo items that underwent semantic change: 2 items of meaning broadening, 17 items of narrowing, 5 items of amelioration, and 2 items of pejoration. Meaning narrowing emerged as the most dominant category (65.4%), reflecting the tendency of Japanese to absorb gairaigo with more specialized meanings. The analysis further revealed that social factors (Ullmann), consistent with socio-cultural development (Chaer), were the most dominant driver, followed by psychological factors consistent with association, while foreign-language contact remained the underlying condition inherent to every borrowed gairaigo. The findings demonstrate that gairaigo in Tenki no Ko functions not merely as ordinary loanwords, but as linguistic instruments employed artistically by the creator to convey meaning, emotion, and social commentary to the audience. Keywords: gairaigo, meaning shift, semantics, anime, Tenki no Ko. 要旨 本研究は、新海誠監督によるアニメ映画『天気の子』（2019年）に登場する英語由来の外来語の意味変化について考察するものである。本研究の目的は、(1) Ullmann（1962）とAbdul Chaer（2014）の理論に基づき、同映画における英語由来の外来語の意味変化の種類を記述すること、および(2) Ullmann（1962）とAbdul Chaer（2009、2014）の理論に基づき、意味変化に影響を与える要因を記述することである。本研究では、内容分析法を用いた記述的質的研究を採用した。データは自由観察法（SBLC）および映画の公式字幕ファイルの文書化技法によって収集された。分析の結果、意味変化を経た外来語が26語確認された。その内訳は、意味の拡大2語、意味の縮小17語、意味の向上（アメリオレーション）5語、意味の低下（ペジョレーション）2語であった。意味の縮小が最も優勢なカテゴリー（65.4%）であり、外来語がより特定化された意味で受容される日本語の一般的傾向を反映している。要因分析では、社会的要因（Ullmann）が社会文化的発展（Chaer）と軌を一にして最も優勢であり、次いで連想と関連する心理的要因が続き、外国語との接触は借用に内在する基盤的条件として確認された。本研究の成果は、『天気の子』における外来語が単なる借用語にとどまらず、制作者によって意味・感情・社会的メッセージを伝えるための芸術的な言語ツールとして活用されていることを実証するものである。 キーワード：外来語、意味変化、意味論、アニメ、天気の子
An Analysis of Expressive Speech Acts in the Anime Kimi no Nawa by Makoto Shinkai
Abstract Humans use language not only to convey information but also to reveal psychological attitudes, including gratitude, complaint, blame, admiration, and regret. Speech acts that carry out this function are known as expressive speech acts. This study aims to (1) identify the types of expressive speech acts and (2) describe the functions of expressive speech acts found in the anime Kimi no Na wa by Makoto Shinkai. This research employed a descriptive qualitative method. Data were collected through observation and note-taking techniques while repeatedly watching the anime and its dialogue script. The type of expressive speech act was analyzed using Searle's (1979) theory, while its function was analyzed using Yule's (2006) pragmatic theory, and the data were processed following Miles and Huberman's (1994) interactive analysis model. The results show that 32 data of expressive speech acts were found, consisting of five types: expressions of gratitude (2 data), complaints (9 data), blaming (4 data), compliments (7 data), and apologies (10 data). Apology was the most dominant type, reflecting the characters' tendency to maintain interpersonal harmony. Functionally, these expressive speech acts serve to convey the speakers' psychological states—such as gratitude, regret, admiration, disappointment, and criticism—while also supporting characterization and the progression of the storyline. Keywords: expressive speech acts, pragmatics, Kimi no Na wa, Searle, Yule.
ANALISIS TINDAK TUTUR ASERTIF PADA KOMIK “KASHIKOMARIMASHITA, DESTINY”
Abstract This study analyzes the assertive illocutionary acts found in Sachimo's manga Kashikomarimashita, Destiny based on Searle's (1979) speech act theory. Drawing on this theoretical framework, the study examines the forms of assertive illocutionary acts that appear in the manga. The research addresses the following question: How can the assertive illocutionary acts in Sachimo's manga Kashikomarimashita, Destiny be classified? This study employed a descriptive qualitative research method rather than a statistical approach. The data consisted of the utterances of the characters in Kashikomarimashita, Destiny. These utterances were collected, organized into tables, and subsequently analyzed based on the theory of assertive speech acts. The findings reveal that the assertive illocutionary acts in Kashikomarimashita, Destiny can be classified into four categories: stating, expressing opinions, reporting, and claiming. A total of 48 instances of assertive illocutionary acts were identified in the manga. Keywords: Pragmatics, Speech Act, Illocutionary Act, Assertive Illocutionary Act 要旨 本論文は、Searle（1979）の理論に基づき、さちもの漫画『かしこまりました、デスティニー』における断言的発話内行為を分析したものである。本論文ではこれに基づき、『かしこまりました、デスティニー』における断言的発話内行為について考察した。本論文で取り上げる問題は、さちもの漫画『かしこまりました、デスティニー』における断言的発話内行為はどのように分類できるかということである。 本研究の調査方法は、統計的手法ではなく、記述的質的研究法を用いた。すなわち、『かしこまりました、デスティニー』に登場する人物の発話をデータとして収集し、それらを表形式で整理した上で分析を行った。 研究の結果、『かしこまりました、デスティニー』における断言的発話内行為は、「述べる」「意見を述べる」「報告する」「主張する」の4種類に分類され、合計48件が確認された。 キーワード: 語用論、発話行為、発話内行為、断言的発話内行為
MAJAS SINDIRAN DALAM KOMIK YUUKOKU NO MORIARTY VOLUME 1-4 KARYA TAKEUCHI RYOSUKE DAN MIYOSHI HIKARU
ABSTRAK Majas merupakan pemanfaatan kekayaan bahasa, pemakaian ragam tertentu untuk memperoleh efek-efek tertentu yang membuat sebuah karya sastra menjadi semakin hidup, keseluruhan ciri Bahasa sekelompok penulis sastra, dan cara khas dalam menyampaikan isi pikiran dan perasaan, baik secara lisan maupun secara tertulis. Majas memiliki berbagai jenis, seperti majas perbandingan, majas metafora, dan lain sebagainya, dari sekian banyak jenis majas, kali ini penulis berfokus pada majas sindiran. Penelitian ini membahas majas sindiran dan jenisnya dalam komik Bahasa Jepang. Ada pun tujuan dari penelitian ini adalah untuk mengetahui dan mendeskripsikan jenis majas sindiran yang terdapat dalam komik Bahasa Jepang yang berjudul Yuukoku No Moriarty Volume 1-4 karya Takeuchi Ryosuke dan Miyoshi Hikaru. Penelitian ini merupakan penelitian stilistika dengan menggunakan pendekatan kualitatif deskriptif. Sesuai dengan teori milik Keraf (2010:143), terdapat 6 jenis majas sindiran, yakni majas ironi, sinisme, sarkasme, inuendo, satire, dan antifrasis. Akan tetapi, peneliti hanya menggunakan tiga dari enam majas sindiran tersebut, yaitu 1) majas ironi; 2) majas sinisme; dan 3) majas sarkasme. Teknik pengumpulan data yang digunakan dalam penelitian ini adalah teknik baca dan catat. Setelah dilakukannya penelitian menurut teori para ahli, telah terkumpul sebanyak 23 data yang ditemukan dengan rincian, yakni 9 data majas ironi, 8 data majas sinisme, dan 6 data majas sarkasme. Kata kunci: Majas Sindiran, Komik Yuukoku No Moriarty, Penelitian kualitatif deskriptif
Fungsi Pragmatik Kandoushi dalam Anime Natsume Yuujinchou Season 1 Karya Takahiro Omori (大森貴弘)
Penelitian ini bertujuan mendeskripsikan jenis kandoushi berdasarkan teori Takano (1984), menganalisis fungsi pragmatik menggunakan kerangka Levinson (1983) yang diadaptasi dari fungsi bahasa Jakobson (1960), serta mengungkap representasi nilai budaya Jepang yang tercermin melalui penggunaan kandoushi dalam dialog tokoh utama anime Natsume Yuujinchou Season 1 episode 1–5. Penelitian menggunakan pendekatan deskriptif kualitatif dengan metode simak dan teknik catat (Sudaryanto, 2015). Hasil penelitian menemukan 223 data kandoushi yang terdiri atas empat jenis: kandou (感動) sebagai jenis paling dominan, outou (応答), yobikake (呼びかけ), dan aisatsugo (挨拶語). Analisis fungsi pragmatik menemukan tiga fungsi: ekspresif sebagai yang paling dominan, diikuti fatis dan direktif. Kandoushi juga merepresentasikan tiga nilai budaya Jepang: gaman (Izumi-Taylor dkk., 2024), wa (Doi, 1973), dan mono no aware (Toru, 2024). Temuan ini menunjukkan bahwa kandoushi tidak hanya berfungsi sebagai penanda emosi dan interaksi, tetapi juga merepresentasikan nilai budaya dan spiritual Jepang dalam dialog anime.
University Students’ Perceptions of YouTube As a Supplementary Medium for Learning Japanese
This study aims to investigate the perceptions of students of the Japanese Language Education Study Program at Universitas Negeri Surabaya regarding the use of YouTube as a supporting medium for Japanese language learning. This study employed a quantitative descriptive method with a sample of 59 students selected through random sampling. Data were collected using a Likert-scale questionnaire and analyzed using descriptive statistics. The results showed that students' perceptions of the use of YouTube were categorized as high, with an overall mean score of 4.00. Based on the findings, it can be concluded that students have positive perceptions of YouTube as a supporting medium for Japanese language learning. YouTube is considered helpful in providing flexible access to learning materials, improving students' understanding of the subject matter, and supporting independent learning. Keywords: students' perceptions, YouTube, Japanese language learning, social media.
ANALISIS TINDAK TUTUR ILOKUSI DIREKTIF TOKOH UTAMA DALAM FILM “SPIRITED AWAY” (千と千尋の神隠し) KARYA HAYAO MIYAZAKI
Penelitian ini bertujuan untuk menganalisis jenis, fungsi pragmatik, dan peran tindak tutur ilokusi direktif tokoh utama Chihiro dalam film Spirited Away karya Hayao Miyazaki. Penelitian ini menggunakan metode deskriptif kualitatif dengan teknik analisis isi terhadap dialog tokoh utama berdasarkan klasifikasi tindak tutur direktif Ibrahim (1993) dan teori tindak tutur ilokusi Searle (1969). Sumber data penelitian berupa tuturan tokoh Chihiro dalam film Spirited Away, dengan jumlah data sebanyak 67 tuturan direktif yang dianalisis berdasarkan bentuk dan fungsi pragmatik. Hasil penelitian menunjukkan bahwa terdapat enam jenis tindak tutur direktif yang ditemukan, yaitu questions sebanyak 41,7%, requestives sebanyak 32,8%, requirements sebanyak 11,9%, prohibitives sebanyak 5,9%, permissives sebanyak 4,4%, dan advisories sebanyak 2,9%. Tindak tutur tersebut memiliki fungsi pragmatik berupa meminta informasi, memohon bantuan, mengarahkan tindakan, mencegah tindakan tertentu, memberikan izin, serta memberikan nasihat. Hasil analisis juga menunjukkan bahwa penggunaan tindak tutur ilokusi direktif memiliki keterkaitan dengan perkembangan karakter Chihiro dalam film. Pada fase awal, tuturan Chihiro lebih banyak menunjukkan karakter yang pasif melalui penggunaan pertanyaan dan permintaan. Pada fase pertengahan, penggunaan perintah dan larangan merepresentasikan peningkatan keberanian serta kemandiriannya. Sementara itu, pada fase akhir, penggunaan nasihat dan pemberian izin menunjukkan perkembangan karakter menuju kedewasaan. Berdasarkan hasil penelitian tersebut, tindak tutur ilokusi direktif tidak hanya berfungsi sebagai bentuk komunikasi, tetapi juga merepresentasikan perubahan karakter tokoh utama sepanjang perkembangan cerita. Kata kunci: tindak tutur direktif, pragmatik, ilokusi, perkembangan karakter, Spirited Away