on Language, Literature and Mediaon Language, Literature and Media
ǣȀȀǤȀͳͲǤͳͳȀͲͲʹʹʹͳͻͶͻʹͲʹͷͲͲ͵Ͳ͵
Lee, I., Mak, P., & Burns, A. (2016). EFL teachers’ attempts at feedback
ǤLanguage Teaching Researchǡ20ȋʹȌǡ ʹͶͺ–ʹͻǤǣȀȀǤȀͳͲǤͳͳȀͳ͵ʹͳͺͺͳͷͷͺͳͲͲ
ǡ Ǥǡ Ƭ ǡǤ ȋʹͲͳͷȌǤ
Ǥ Journal of Second Language Writingǡ 27ǡ ͵–ͷͶǤ
ǣȀȀǤȀͳͲǤͳͲͳȀǤǤʹͲͳͶǤͳͳǤͲͲʹ
ǡ Ǥ ȋʹͲͳͳȌǤ
Ǥ Journal of English as an International
Languageǡ 6ȋͳȌǡ ʹͳ–ͶǤ
ǣȀȀ Ǥ Ǥ ȀǤǫ αƬαƬαͳͺͻʹ
ͶͺƬαƬαǦ
Pimsarn, P. (2013). Efl Students’ Writing Apprehension. International Journal of Arts & Sciencesǡ6ȋͶȌǡͳͻͶͶ–ͻ͵ͶͻͻǤ
ǡǤȋʹͲͲͻȌǤʹǤ Journal of English for Academic Purposesǡ 8ȋͶȌǡ ʹͷʹ–ʹǤ
ǣȀȀǤȀͳͲǤͳͲͳȀǤǤʹͲͲͻǤͲͷǤͲͲͳ
ǡ Ǥ Ǥǡ Ƭ ǡǤ Ǥ ȋʹͲͳ͵ȌǤ
ǣ Ǥ Language Teachingǡ46ȋ͵Ȍǡ͵ͺʹ–͵ͻ͵ǤǣȀȀǤȀͳͲǤͳͲͳȀͲʹͳͶͶͶͺͳ͵ͲͲͲͳͳ
ǡǤȋʹͲͳͻȌǤǫ
ͳ ǤReading and Writingǡ32ȋ͵Ȍǡͷͳͳ–ͷ͵ͷǤǣȀȀǤȀͳͲǤͳͲͲȀͳͳͳͶͷǦͲͳͺǦͻͺͶǦͳ
ǡǤǡƬǡǤȋʹͲͳͷȌǤ ǦǦ
scores ? Language Testingǡ 32ȋʹȌǡ ʹͷͻ–ʹͺͳǤ
ǣȀȀǤȀͳͲǤͳͳȀͲʹͷͷ͵ʹʹͳͶͷͲʹͷ
MORAL MESSAGE IN ADVERTISEMENT
"
"الله اناسني لا BY ZAIN GROUP: ROLAND
BARTHES SEMIOTIC ANALYSIS
Marisa Salsabila Hamas1, M. Anwar Masadi2
Ƭͳ
Ƭʹ
ǣ͵Ͳͳͳͻͺ̷Ǥ
Abstract:
"الله اناسني لا" ʹͲʹͲ
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ǡ Ǥ
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Ǥ Ǥ ǡ
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ǡǦͳͻǤǡ
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Keywords:Denotation, connotation, moral message, myth, semiotics
INTRODUCTION
Ǥ Ǧͳͻ
ʹͲͳͻǤ
Humanities across Histories and Trajectories in the Glocal Contexts Humanities across Histories and Trajectories in the Glocal Contexts
Marisa Salsabila Hamas, M. Anwar Masadi
Ǥ
ʹͲʹͲ Ǥ ǫ
Ǥ Ǧͳͻ
ǡ
ǦͳͻǤǡʹͲʹͲȋ
Ȍ Ǧͳͻ
ȋȌǡ
ȋ ȌǤ
ǡ Ǥ
ǡ ̵
ǡ ǡ ǡ
Ǥ ǡ ǡ
ǦͳͻǤ ǡ
ǡ ǡ ǡ
Ǥ
ǡ
Ǧͳͻ Ǥ
ǡ
Ǥ ǡ
ǡ
ǡ Ǥ
ǡ
̶الله اناسني لا̶Ǥ
̵
ʹͲʹͲǤ
ǤʹͲʹͲǡ
̶الله اناسني لا̶ Ǥ
Ǥ
ǡ ǡ ȋǡʹͲͲͶǡǤͳͲǦ ͳͳȌǤ
ǡ Ǥ
̶الله اناسني لا̶
Ǥ
Ǥ
on Language, Literature and Mediaon Language, Literature and Media
Ǥ
ʹͲʹͲ Ǥ ǫ
Ǥ Ǧͳͻ
ǡ
ǦͳͻǤǡʹͲʹͲȋ
Ȍ Ǧͳͻ
ȋȌǡ
ȋ ȌǤ
ǡ Ǥ
ǡ ̵
ǡ ǡ ǡ
Ǥ ǡ ǡ
ǦͳͻǤ ǡ
ǡ ǡ ǡ
Ǥ
ǡ
Ǧͳͻ Ǥ
ǡ
Ǥ ǡ
ǡ
ǡ Ǥ
ǡ
̶الله اناسني لا̶Ǥ
̵
ʹͲʹͲǤ
ǤʹͲʹͲǡ
̶الله اناسني لا̶ Ǥ
Ǥ
ǡ ǡ ȋǡʹͲͲͶǡǤͳͲǦ ͳͳȌǤ
ǡ Ǥ
̶الله اناسني لا̶
Ǥ
Ǥ
Ǥ
ǡ
Ǥ
ǡ ̶الله اناسني لا̶
̵
Ǥ
̶الله اناسني لا̶Ǥ
Ǥ
ǡ
Ǥ ǡ
Ǥ
̵
Ǥ
Ǥ
Ǥ
Ǥ
̵ Ǥ
ȋʹͲͳͻȌ ̶ ̶Ǥ
Ǥ ȋʹͲͳȌ
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Ǥ
̶الله اناسني لا̶ ʹͲʹͲǤ
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̵ Ǥ
LITERATURE REVIEW
Theory of Roland Barthes
̶الله اناسني لا̶
ʹͲʹͲǡ ̵ Ǥ
Ǥ
Humanities across Histories and Trajectories in the Glocal Contexts Humanities across Histories and Trajectories in the Glocal Contexts
Marisa Salsabila Hamas, M. Anwar Masadi
Ǥ
first-level meaning
ǡ Ǥ
Ǥ Ǥǡ
̵ǡ
ǡ Ǥ
second-level meaningǡ ǡ
ǡ Ǥ ǡ
ǡ
ǡǡ ǡ ǤȋǡʹͲͳͶǡǤʹͷȌǤ
̵ Ǥ
ǡ
ȋǡ ʹͲͲͻǡ Ǥ ʹͲȌǤ
ȋǡʹͲͳͶǡǤʹͷȌǤ
ǡ
ȋǡʹͲͲͳǡǤͷ͵ȌǤ
ǡ
Ǥ ̵
ǡ Ǥ
Ǥ
ǡ
Ǥ
ȋǡʹͲͲǡǤͳ͵ȌǤ
METHOD
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ȋ Ƭ ǡ ʹͲͳͻǡ Ǥ ͳʹȌǤ
ȋʹͲͳ͵Ȍǡ
Ǥ
on Language, Literature and Mediaon Language, Literature and Media
Ǥ
first-level meaning
ǡ Ǥ
Ǥ Ǥǡ
̵ǡ
ǡ Ǥ
second-level meaningǡ ǡ
ǡ Ǥ ǡ
ǡ
ǡǡ ǡ ǤȋǡʹͲͳͶǡǤʹͷȌǤ
̵ Ǥ
ǡ
ȋǡ ʹͲͲͻǡ Ǥ ʹͲȌǤ
ȋǡʹͲͳͶǡǤʹͷȌǤ
ǡ
ȋǡʹͲͲͳǡǤͷ͵ȌǤ
ǡ
Ǥ ̵
ǡ Ǥ
Ǥ
ǡ
Ǥ
ȋǡʹͲͲǡǤͳ͵ȌǤ
METHOD
Ǥ ǡ
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ȋ Ƭ ǡ ʹͲͳͻǡ Ǥ ͳʹȌǤ
ȋʹͲͳ͵Ȍǡ
Ǥ
Ǥ
ǡ
Ǥ ȋȌ
ǡ
ȋƬǡʹͲͳͷǡǤʹͺȌǤ
̶الله اناسني لا̶ ʹͲʹͲ
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ǡ
Ǥ
Ǧ
Ǥ
ȋǡ ʹͲͲͷǡ Ǥ ͳͳ͵ȌǤ
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Ǥ
ǡ ǡ
ǡ ǡ ǡ
ȋǡ ʹͲͳͻǡ Ǥ ͳ͵ͶȌǤ
ǡǡ Ǥ
Ǥ
ǡ ǡǡ
Ǥȋǡ ʹͲͲǡǤʹʹȌǤ
FINDING AND DISCUSSION
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Ǥ ̵
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Humanities across Histories and Trajectories in the Glocal Contexts Humanities across Histories and Trajectories in the Glocal Contexts
Marisa Salsabila Hamas, M. Anwar Masadi Denotation and Connotation Meaning as the First Level Meaning
ǡ
̶الله اناسني لا̶ʹͲʹͲǤ
ͳ
ͳ Ͷ
ʹ ͷ
͵ ʹ
Ͷ ͵
ͳǡ
ǡ
Ǥ
ǡ
Ǥ
Ǥ Scene 1 (Stay at Home)
ͳǤͳ
ʹ ͳͳ
Ȁ
with the words “Due to the
ǡ
temporarily closed”
؟رشبلا لك رفتخا نيأ
ǣ ͳǡ ̶
ǫ̶
Ǥ ̵
ǡ
Ǥ
Ǧͳͻ Ǥ
on Language, Literature and Mediaon Language, Literature and Media
Denotation and Connotation Meaning as the First Level Meaning
ǡ
̶الله اناسني لا̶ʹͲʹͲǤ
ͳ
ͳ Ͷ
ʹ ͷ
͵ ʹ
Ͷ ͵
ͳǡ
ǡ
Ǥ
ǡ
Ǥ
Ǥ Scene 1 (Stay at Home)
ͳǤͳ
ʹ ͳͳ
Ȁ
with the words “Due to the
ǡ
temporarily closed”
؟رشبلا لك رفتخا نيأ
ǣ ͳǡ ̶
ǫ̶
Ǥ ̵
ǡ
Ǥ
Ǧͳͻ Ǥ
Ǥ
ʹǤʹ
͵Ǥ ͳʹ
Ǥ
...رشلا نااسني تدر
ǣʹ
Ǥ
̶ ̶Ǥ Ǥ Ǥ
͵Ǥ͵
ͶǤ ͳ͵
Ǥ
الل نااسني نل بيغلا نم انيتؤيس ،الل نااسني نل هلاحأ
ǣ ͵̵
Ǥ
̶̶ǡ
Humanities across Histories and Trajectories in the Glocal Contexts Humanities across Histories and Trajectories in the Glocal Contexts
Marisa Salsabila Hamas, M. Anwar Masadi
Ǥ
ǡǤ
ͶǤͶ
ͷǤ ͳͶ
-
Ǥ
-
-
-
-
̵ǡ
-
Ǥ
نااسني نل ...هانيساق ام انيسنيف الل
ǣ͵ ǡ
̶̶
Ǥ
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Ǥ
ǡ ǡǡ Ǥ Scene 2 (The soared basic necessities)
ͷǤͳ
on Language, Literature and Mediaon Language, Literature and Media
Ǥ
ǡǤ
ͶǤͶ
ͷǤ ͳͶ
-
Ǥ
-
-
-
-
̵ǡ
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Ǥ
نااسني نل ...هانيساق ام انيسنيف الل
ǣ͵ ǡ
̶̶
Ǥ
ǡ
Ǥ
ǡ ǡǡ Ǥ Scene 2 (The soared basic necessities)
ͷǤͳ
Ǥ ʹͳ
- ǡ
ǡ
Ǥ -
Ǥ -
-
بيخ اذام دغلا تلأس
ǣ Ǥ ͳ
Ǥ ǡ
Ǥǡǡ
Ǥ
Ǥʹ
Ǥ ʹʹ
-
Ǥ
-
Ǥ -
-
ةميقلاو ؟رسي رسعلا دعبام ؟رفصلا
ǣ
Ǥ
ǡǤ
Ǥ
Humanities across Histories and Trajectories in the Glocal Contexts Humanities across Histories and Trajectories in the Glocal Contexts
Marisa Salsabila Hamas, M. Anwar Masadi
ǡǤ
Ǥ
Ǥ͵
ͺǤ ʹ͵
-
groceries into a couple’s
-
̵
-
-
رقفلا ناسني تدر
ǣ ͵ͳ
ʹǤ ǡ
Ǥ̶
̶ǡ ǡ
Ǥ
ͺǤͶ
ͻǤ ʹͶ
Ǧ
نع هب انينغيسو ,الل نااسني نل
هاوس
on Language, Literature and Mediaon Language, Literature and Media
ǡǤ
Ǥ
Ǥ͵
ͺǤ ʹ͵
-
groceries into a couple’s
-
̵
-
-
رقفلا ناسني تدر
ǣ ͵ͳ
ʹǤ ǡ
Ǥ̶
̶ǡ ǡ
Ǥ
ͺǤͶ
ͻǤ ʹͶ
Ǧ
نع هب انينغيسو ,الل نااسني نل هاوس
ǣ
̶Ǥ̶Ǥ
ǡ
ǡ Ǥ
Ǥ Ǥ
ͻǤͷ
ͳͲ ʹͷ
-
-
-
-
الل نااسني نل ،هياإ لاإ بلطن لاف
ǣ Ǥ
ǡ
ǡǤ
Ǥ ǡ
Ǥ
Scene 3 (Mecca looked desolate because of the new regulation)
ͳͲǤͳ
Humanities across Histories and Trajectories in the Glocal Contexts Humanities across Histories and Trajectories in the Glocal Contexts
Marisa Salsabila Hamas, M. Anwar Masadi
ͳͳǤ ͵ͳ
- ʹ
-
- ʹ
-
ʹ
- ʹ
- ʹ ȋȌ
لافطلأا ينعأ نلآاو
لاؤس بلقلا فيو ةبعكلا ىلع
؟ءاقللا نىم الل تيب في
ǣ͵ǡ
Ǥ
ȋȌǤ
ǡ
Ǥ
ͳͳǤʹ
ͳʹǤ ͵ʹ
ءادلا نااسني تلق
ǣ ʹǡ
ǡǤ
̶̶
Ǥ