Lingua Franca
https://ejournal.insuriponorogo.ac.id/index.php/lingua_franca
<p style="text-align: justify;"><a href="https://ejournal.insuriponorogo.ac.id/index.php/lingua_franca">Lingua Franca: Jurnal Bahasa dan Sastra</a> or Journal of Languages and Literature <a href="https://issn.brin.go.id/terbit/detail/20220113550803924">(E-ISSN 2809-9079)</a> <a href="https://issn.brin.go.id/terbit/detail/20220113100921951">(P-ISSN 2809-9133),</a> is a national journal that published an article that makes a clear contribution to current debates in all branches of theoretical linguistics. This journal provides an excellent survey of the latest linguistic publications. The journal also concentrates on literary research, practice, and theory, presenting its readers with the latest, broadest, and most important findings in the field of literary studies. Published by <a href="https://insuriponorogo.ac.id/">Institut Agama Islam Sunan Giri (INSURI) Ponorogo</a> and managed by INSURI Language Center.</p>Institut Agama Islam Sunan Giri Ponorogoen-USLingua Franca2809-9133<p style="text-align: justify;"><strong>Lingua Franca: Jurnal Bahasa dan Sastraallow the author(s) to hold the copyright without restrictions and allow the author(s) to retain publishing rights without restrictions, also the owner of the commercial rights to the article is the author.</strong></p> <p><strong>License:</strong></p> <ul> <li class="show"><strong>Attribution</strong>: You must provide an appropriate name, include a link to the license, and certify that changes have been made. You can do this in an appropriate manner, but do not imply that the licensor supports you or your use.</li> <li class="show"><strong>Share Alike</strong>: If you compose or make derivatives of these materials, you must distribute your contributions under the same license as the original materials.</li> <li class="show"><strong>No additional restrictions</strong>: You may not use legal provisions or technological means of control that legally restrict others from doing the things this license allows.</li> </ul> <p>You are free to:</p> <ul> <li class="show">Share, copy, and redistribute this material in any form or format.</li> <li class="show">Adapt, modify, and create derivatives of this material for any purpose, including commercial purposes.</li> <li class="show">The licensor cannot revoke the above terms as long as you comply with the terms of this license.</li> </ul> <p><a href="http://creativecommons.org/licenses/by-sa/4.0/" rel="license"><img src="https://i.creativecommons.org/l/by-sa/4.0/80x15.png" alt="Lisensi Creative Commons"></a></p> <p><a href="http://creativecommons.org/licenses/by-sa/4.0/" rel="license">Creative Commons Attribution-ShareAlike 4.0 International License</a> (CC BY-SA 4.0).</p> <p style="text-align: justify;"> </p>Nilai-Nilai Moral dalam Film Ar-Rihlah Karya Kobun Shizuno
https://ejournal.insuriponorogo.ac.id/index.php/lingua_franca/article/view/6603
<p>This article discusses the concept of morality in the film Ar-Rihlah by Kobun Shizuno, using literary reception theory and content analysis. The film presents moral values that are often understood only through textual or denotative meanings, while the film must be understood through a more profound analytical approach. The purpose of this research is to identify the moral values contained in Ar-Rihlah. The method used in this study is a descriptive qualitative method. The results show that the film contains proactive and courageous moral values, faith, trust, submission, and supplication to God, responsibility and leadership, arrogance and opposition, care and protection, exemplary behavior and the desire to become better, loyalty, solidarity, unity, as well as hatred and arrogance towards the people of Mecca. Ar-Rihlah conveys deep moral messages, both positive and negative. The film not only entertains but also encourages the audience to think and improve themselves to become better.</p>Anggi Yulia Sari
Copyright (c) 2025 Anggi Yulia Sari
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2025-07-302025-07-303211010.37680/linguafranca.v3i2.6603Eksistensi Cinta Lagu Saat Kau Telah Mengerti Karya Virgoun dalam Perspektif Semiotika
https://ejournal.insuriponorogo.ac.id/index.php/lingua_franca/article/view/6602
<p>This article discusses the existence of love expressed in the song "Saat Kau Sudah Mengerti" by Virgoun. This article aims to: 1) Identify Denotative and Connotative Meanings, 2). Explore Moral Values and Messages, 3). Explain Intergenerational Relevance. This song represents the love and support of parents that endures beyond their physical presence, while reminding children about the importance of courage and integrity in living life. The results of this article show three main themes: 1) Parental love and attention that are often only understood by children in the future, 2) the importance of children's independence and courage even though their life choices differ from their parents' expectations, and 3). The continuity of values passed down between generations is the foundation of children's lives in the future. The lyrics of this song describe the role of parents as loving guides, even though they sometimes seem harsh in the eyes of children. The lyrics of the song "Saat Kau Sudah Mengerti" conclude about the deep emotional relationship between parents and children, with the main message about unconditional love and parental sacrifice in shaping children's characters. Semiotic analysis shows that these lyrics emphasize the importance of independence, courage, and integrity for children facing life's realities. However, this is often only understood by children later in life. Furthermore, the song depicts the continuity of life values passed down from parents to the next generation, emphasizing the role of parents as loving guides and supporters.</p>Siti Nurafriyani
Copyright (c) 2025 Siti Nurafriyani
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2025-07-302025-07-3032112510.37680/linguafranca.v3i2.6602Analisis Semiotika Roland Barthes pada Film “Ranah 3 Warna” Karya Guntur Soeharjo
https://ejournal.insuriponorogo.ac.id/index.php/lingua_franca/article/view/6617
<p>This study aims to analyze Guntur Soeharjo's film Ranah 3 Warna through the perspective of Roland Barthes' semiotic theory. As one of the leading semiotic theorists, Barthes offers an approach that can uncover hidden meanings in visual texts, such as films. In this context, the film Ranah 3 Warna, adapted from a novel by Ahmad Fuadi, depicts the life journey of a young man who faces various challenges in his personal life, family, and society. This analysis uses Barthes's main concepts, such as denotation, connotation, and myth, to identify how the visual and narrative elements in the film form deeper meanings. This study reveals that through the signs and symbols in the film, social, cultural messages and values form certain myths in Indonesian society. The results of this study are expected to enrich the understanding of the application of semiotic theory in film analysis and show how the film Ranah 3 Warna can reflect complex social realities through the visual language and narrative developed.</p>Siti Khofifah
Copyright (c) 2025 Siti Khofifah
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2025-07-302025-07-3032263210.37680/linguafranca.v3i2.6617Peran Alur dan Setting Melalui Konflik dalam Novel “Bumi Manusia” Karya Pramoedya Ananta Toer
https://ejournal.insuriponorogo.ac.id/index.php/lingua_franca/article/view/6642
<p>This study aims to analyze the role of plot and setting in depicting conflict in the novel Bumi Manusia by Pramoedya Ananta Toer. The novel, which is the first part of the Buru Tetralogy, is about the struggle against social, economic, and cultural injustice during the Dutch colonial period. With a descriptive qualitative approach, this study uses the theories of plot, setting, and conflict as an analytical framework to explore the interaction of narrative elements that build the story. The results show that the plot in this novel is progressively designed to develop personal, social, and colonial conflicts. These conflicts reflect the inequality of the colonial system that affects the main character's life. In addition, the geographical, temporal, and cultural settings provide contexts that strengthen the intensity of the conflicts, such as through biased colonial courts and social stratification in society. The interaction between plot and setting not only produces an evocative narrative, but also shows a deep critique of colonial oppression and discrimination. This research contributes to the study of Indonesian literature by providing a new understanding of the way narrative elements are used to reflect historical and social struggles in literary works.</p>Anggun Putri MaharaniImam Ma'ruf FauzanAhmad Fahyumi
Copyright (c) 2025 Anggun Putri Maharani, Imam Ma'ruf Fauzan, Ahmad Fahyumi
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2025-07-302025-07-3032334610.37680/linguafranca.v3i2.6642Teknik Penerjemahan Arab-Indonesia Dalam Teks “Masāil fī al-Śiĥr" dengan Menggunakan Quillbot
https://ejournal.insuriponorogo.ac.id/index.php/lingua_franca/article/view/6686
<p>This study aims to analyze the translation techniques used by QuillBot in translating the text titled "مسائل في السحر" from the book "مسألة في الرقية والعين والمس والسحر ٦٠" by Sulṭān bin 'Abdullāh al-Umri. The research employs a qualitative descriptive method by classifying the translation results based on Molina and Albir's (2002) translation technique theory. The data analyzed include six translation techniques: transposition, reduction, modulation, amplification, calque, and naturalized borrowing. The study's findings reveal that modulation is the most dominant technique, appearing in 5 data points, followed by transposition and reduction, each with 4 data points. Amplification is used in 3 data points, while calque and naturalized borrowing are each applied to 1 data point. The analysis indicates that QuillBot's translations are generally acceptable but still have shortcomings in certain aspects that require human interpretation to maintain the acceptability of meaning. In conclusion, collaboration between translation software like QuillBot and human expertise is essential to produce accurate and contextually appropriate translations.</p>Nurul FitriyahMaulida Auladina Fadheela EFMohamad Zaka Al FarisiRinaldi Supriadi
Copyright (c) 2025 Nurul Fitriyah, Maulida Auladina Fadheela EF, Mohamad Zaka Al Farisi, Rinaldi Supriadi
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2025-07-302025-07-3032475610.37680/linguafranca.v3i2.6686