scholarly journals Discourse Analysis of a Song Lyric Entitled "We Will Not Go Down”

2016 ◽  
Vol 9 (1) ◽  
pp. 90
Author(s):  
Faizal Risdianto
Keyword(s):  
Discourse Analysis ◽  
Life Experience ◽  
The Other ◽  
Personal Pronoun ◽  
Personal Pronouns ◽  
Lexical Analysis ◽  
Lexical Aspect ◽  
Library Research ◽  
Song Lyric ◽  
Song Lyrics

This library research aimed at finding the three aspect of discourse analysis: contextual, grammatical and lexical aspect of Michael Heart’s song lyrics entitled “We will not go down (Song for Gaza). After analysis it can be found that the life experience and background of the song writer and singer is closely related to the idea proposes within the song lyrics. Whereas, the result of the grammatical and lexical analysis gives a depiction of cohesion and coherence of the song discourse of “We will not Go Down (Song for Gaza)”. There are eight (8) forms of first plural personal pronoun of “We”, four (4) second plural personal pronoun of ‘You” and seven (7) third personal pronouns in various forms. On the other side, it is difficult to find lexical aspects of this song discourse. There is only one form of anaphoric repetition. The repetition of the sentence “We Will Not Go Down” seven times is to influence the hearers whether they are supporters or opponents of the idea brought by the singer/the author that whatever happens Palestinian people will not surrender to every force, nation or people that want to colonialize them. 

scholarly journals Discourse Analysis of a Song Lyric Entitled "We Will Not Go Down”

2016 ◽  
Vol 9 (1) ◽  
pp. 90
Author(s):  
Faizal Risdianto
Keyword(s):  
Discourse Analysis ◽  
Life Experience ◽  
The Other ◽  
Personal Pronoun ◽  
Personal Pronouns ◽  
Lexical Analysis ◽  
Lexical Aspect ◽  
Library Research ◽  
Song Lyric ◽  
Song Lyrics

This library research aimed at finding the three aspect of discourse analysis: contextual, grammatical and lexical aspect of Michael Heart’s song lyrics entitled “We will not go down (Song for Gaza). After analysis it can be found that the life experience and background of the song writer and singer is closely related to the idea proposes within the song lyrics. Whereas, the result of the grammatical and lexical analysis gives a depiction of cohesion and coherence of the song discourse of “We will not Go Down (Song for Gaza)”. There are eight (8) forms of first plural personal pronoun of “We”, four (4) second plural personal pronoun of ‘You” and seven (7) third personal pronouns in various forms. On the other side, it is difficult to find lexical aspects of this song discourse. There is only one form of anaphoric repetition. The repetition of the sentence “We Will Not Go Down” seven times is to influence the hearers whether they are supporters or opponents of the idea brought by the singer/the author that whatever happens Palestinian people will not surrender to every force, nation or people that want to colonialize them. 

scholarly journals Figure of Speech Stylistic Analisys on Song Liryc in Sami Yusuf’s Albums

2021 ◽  
Vol 14 (2) ◽  
pp. 86
Author(s):  
Molidah Molidah ◽  
Imam Qalyubi ◽  
Aris Sugianto
Keyword(s):  
Qualitative Research ◽  
The Other ◽  
Figures Of Speech ◽  
Library Research ◽  
Figure Of Speech ◽  
Song Lyric ◽  
Song Lyrics ◽  
Speech Features ◽  
Main Instrument ◽  
Data Symbol

Abstract: This research aimed to analyze figure of speech Stylistic in Sami Yusuf’s song lyrics. The author is intrigued by the songwriter's lyrics that may occur in the life we live. The purpose of this study is to determine whether or not there are any figure of speech features in Sami Yusuf's song lyrics, as well as to examine the meaning of the song lyrics found in Sami Yusuf's song lyrics. Content analysis was a part of this study. The method used in this study is descriptive qualitative research, and the design is qualitative research. The data was gathered through library research. The researcher is the research instrument since he or she is the main instrument in this study who collects and evaluates the data. After finishing the investigation, the researcher discovered that the most common figure of speech is personification, which has 14 data, and the least common figure of speech is paradox, which has one data. Metaphor (4 data), simile (7 data), synecdoche (10 data), metonymy (5 data), symbol (4 data), and hyperbole (5 data) are some of the other data collected. In other cases, the researcher found no figures of speech like allegory, apostrophe, understatement, or linguistic irony. The connotations of figure of speech utilized in Sami Yusuf's song lyrics are varied. Keywords: figure of speech, song lyric, stylistic

scholarly journals A Discourse Analysis on “Under the Same Sun” from Scorpions

2019 ◽  
Vol 1 (1) ◽  
pp. 78-88
Author(s):  
Win Listyaningrum Arifin
Keyword(s):  
Discourse Analysis ◽  
Cultural Context ◽  
Real Life ◽  
Common View ◽  
Lexical Aspect ◽  
Grammatical Aspect ◽  
Physical Context ◽  
War Zone ◽  
Library Research ◽  
Song Lyrics

The song "Under the Same Sun" firstly released in 1993 is a song written by famous rock group music namely Scorpions. This group is coming from Hannover, Germany. Though renowned phenomenally as a music group with loud genre but this song is a ballad one because it really tells the story of real-life people in the war zone while citizens of the world just show a little caring concern. The song portraits a common view on the hopelessness of victimized people in war zone who need for sympathy and empathy. Otherwise, they get no positive response from other people who live in comfort. This paper is a library research with a descriptive qualitative approach to investigate the discourse analysis of a song lyric. The approach is then used to analyze the data from the song lyrics. The discourse aims at finding the discourse on its grammatical aspect, lexical aspects, situational aspect, and contextual aspect. The study’s discourse analysis on the song lyrics reveals several features. From the grammatical aspect of this song revealed the references in the form of pronoun and demonstrative, ellipsis and conjunction. While in the lexical aspects, it found only two components, namely reps and collocation. The contextual analysis showed the cultural context and the context of the situation. Meanwhile, the situational context itself is divided into physical context, epistemic context and social context.Keywords: Grammatical Aspect, Lexical Aspect, Contextual Aspect

scholarly journals Women write the rights of woman: the sexual politics of the personal pronoun in the 1790s

2007 ◽  
Vol 16 (3) ◽  
pp. 281-304 ◽  
Author(s):  
Jane Hodson
Keyword(s):  
Eighteenth Century ◽  
Great Britain ◽  
Sexual Politics ◽  
The Other ◽  
Personal Pronoun ◽  
Personal Pronouns ◽  
Gender Expectations ◽  
Mary Hays ◽  
Analysis Programme ◽  
Political Pamphlets

This article investigates patterns of personal pronoun usage in four texts written by women about women's rights during the 1790s: Mary Wollstonecraft's A Vindication of the Rights of Woman (1792), Mary Hays' An Appeal to the Men of Great Britain (1798), Mary Robinson's Letter to the Women of England (1799) and Mary Anne Radcliffe's The Female Advocate (1799). I begin by showing that at the time these texts were written there was a widespread assumption that both writers and readers of political pamphlets were, by default, male. As such, I argue, writing to women as a woman was distinctly problematic, not least because these default assumptions meant that even apparently gender-neutral pronouns such as I, we and you were in fact covertly gendered. I use the textual analysis programme WordSmith to identify the personal pronouns in my four texts, and discuss my results both quantitatively and qualitatively. I find that while one of my texts does little to disturb gender expectations through its deployment of personal pronouns, the other three all use personal pronouns that disrupt eighteenth century expectations about default male authorship and readership.

scholarly journals The interpretation of German personal pronouns and d-pronouns

2019 ◽  
Vol 38 (2) ◽  
pp. 155-190
Author(s):  
Markus Bader ◽  
Yvonne Portele
Keyword(s):  
Bayesian Theory ◽  
The Other ◽  
Production Data ◽  
Personal Pronoun ◽  
Personal Pronouns ◽  
Two Factors ◽  
The Subject ◽  
Syntactic Function

Abstract Three experiments investigated the interpretation and production of pronouns in German. The first two experiments probed the preferred interpretation of a pronoun in contexts containing two potential antecedents by having participants complete a sentence fragment starting either with a personal pronoun or a d-pronoun. We systematically varied three properties of the potential antecedents: syntactic function, linear position, and topicality. The results confirm a subject preference for personal pronouns. The preferred interpretation of d-pronouns cannot be captured by any of the three factors alone. Although a d-pronoun preferentially refers to the non-topic in many cases, this preference can be overridden by the other two factors, linear position and syntactic function. In order to test whether interpretive preferences follow from production biases as proposed by the Bayesian theory of Kehler et al. (2008), a third experiment had participants freely produce a continuation sentence for the contexts of the first two experiments. The results show that personal pronouns are used more often to refer to a subject than to an object, recapitulating the subject preference found for interpretation and thereby confirming the account of Kehler et al. (2008). The interpretation results for the d-pronoun likewise follow from the corresponding production data.

scholarly journals AN ANALYSIS OF FIGURATIVE LANGUAGE IN TAYLOR SWIFT’S SONG LYRICS

2018 ◽  
Vol 1 (3) ◽  
pp. 261
Author(s):  
Wilya Setiawati ◽  
Maryani Maryani
Keyword(s):  
Qualitative Method ◽  
Figurative Language ◽  
Research Data ◽  
Library Research ◽  
Song Lyric ◽  
Song Lyrics ◽  
Contextual Meaning ◽  
Descriptive Qualitative

AbstractThis research is entitled An Analysis of Figurative Language in Taylor Swift's song lyrics it aims to know the types of figurative language that are used in Taylor swift lyrics and describe the contextual meaning of the figurative language used in Taylor's lyrics. The research data is obtained from two songs from one albumof Taylor Swift. The album titled Red with three songs taken entitles Red and 22. This research uses descriptive qualitative method in observation and library research in collecting data of this research. Figurative language found consists of simile, metaphor, hyperbole, paradox, irony and personification. In this research, these findingsshow that hyperbole is the most dominant in Taylor Swift’s song and based on the contextual meaning of overall song lyrics of Taylor Swift tell about conflict, pain heart and deeply treachery.Keywords: song, lyric, figurative language, contextual meaning

Suggestopedie Frans

1982 ◽  
Vol 12 ◽  
pp. 127-143
Author(s):  
M.F. Maleville
Keyword(s):  
Discourse Analysis ◽  
Analytical Model ◽  
Affective Domain ◽  
The Other ◽  
Lexical Analysis ◽  
Other Hand ◽  
Syllabus Design

Within a suggestopedic experiment in teaching French to adults at Nijmegen University, material has been developed to meet the suggesto-pedic requirements. These long dialogues, already presented in Levende Talen 366 are now placed within the context of the latest trends in syllabus design. They are cate-gorized as "analytical" as described by Wilkins. Ordening of language takes place on the basis of the criterium marked/unmarked. This criterium takes into account authenticity as described by Breen & Candlin but proves to be ambigous. Another criterium is affect: the language used is systematically chosen in the affective domain. A quantitative lexical analysis of the material proves that it is not very different from commercial material of the same level. The functional/notional model proved not to be adequate for analysis of the material because of the complexity of discourse analysis. Exploitation of the material takes place within a communicative model with much emphasis on affect. The material appears to be satisfactory to the learners. On the other hand, some teachers appear to have difficulties with the analytical model and the length of the dialogues.

Genitive coordinations with personal pronouns

2011 ◽  
Vol 15 (2) ◽  
pp. 363-385 ◽  
Author(s):  
JOHN PAYNE
Keyword(s):  
Single Unit ◽  
Native Speakers ◽  
The Other ◽  
Personal Pronoun ◽  
Personal Pronouns ◽  
Web Based ◽  
British National Corpus ◽  
Insight Into ◽  
Genitive Case ◽  
National Corpus

English genitive noun-phrase coordinations follow two patterns. The first is the single genitive, in which exponence of the genitive case occurs solely on the final coordinate, e.g. Mary and Jane's; and the second is the multiple genitive, in which exponence of the genitive case occurs on all coordinates, e.g. Mary's and Jane's. When either of the coordinates is a personal pronoun, difficult choices have to be made about the form of the pronoun. These difficulties arise especially with the single genitive, which is judged to be totally ungrammatical in coordinations like *my wife and I's or *my wife and my. On the other hand, the alternative use of the multiple genitive, my wife's and my, conflicts with a preference for the single genitive when the coordinates are felt to constitute a single unit. In this article, we first conduct a corpus-based analysis for genitive coordinations with personal pronouns, based on the British National Corpus. This, supplemented by some non-standard examples from web-based sources, gives some insight into the choices actually made by native speakers. We then provide a theoretical account of the syntactic problems that genitive coordinations with pronouns create. This account is shown to be compatible solely with an analysis of the English ’s genitive as an inflectional affix.

Valérys Namen: Der Status des Lesers in der poésie pure

2012 ◽  
Vol 47 (1) ◽  
pp. 108-133
Author(s):  
Franziska Humphreys-Schottmann
Keyword(s):  
Textual Analysis ◽  
The Other ◽  
Structural Function ◽  
Close Reading ◽  
Personal Pronoun ◽  
Personal Pronouns ◽  
Rhetorical Figures ◽  
Other Hand ◽  
The One ◽  
Fundamental Tension

AbstractValéry’s dream of the creation of a poésie pure is determined by a fundamental tension between two contradictory aspirations. On the one hand, he inherits French rationalism when he tries to develop a poetical praxis based on a logical-mathematical calculus, in which anything vague and unclear should disappear. On the other hand, this strictly formalized language revolves around the notion of moi pur and therefore subscribes to a hypertrophied subjectivism. The paradoxical logic of personal pronouns described by Émile Benveniste is at the origin of Valéry’s project: The moi pur is both, the personal pronoun that identifies the concrete speaker and the structural function of the universal invariant. Ineluctably affected by this pronominal shifting, the reader is, above all, at stake in the poéésie pure. In an attempt to unfold the aporetical constructions resulting from this paradox, this textual analysis focuses on some of the main rhetorical figures of Valpoéry’s work. A close reading of Narcisse parle reveals the specific moments of permanent self-variation by which the popoésie pure constantly subverts itself. Poeisis resists any kind of rigid formalism, any subjugation of its rhetorical potential and any attempt to escape the ever-sliding sense of the metaphor. We can thus affirm that the aporias revealed by the popoésie pure evidence hence the conditions of poetical representation itself.

scholarly journals LIRIK LAGU FIRST LOVE DAN PRISONER OF LOVE OLEH UTADA HIKARU DALAM ANALISIS WACANA KRITIS CRITICAL DISCOURSE ANALYSIS OF UTADA HIKARU’S SONG LYRICS: FIRST LOVE AND PRISONER

2019 ◽  
Vol 8 (2) ◽  
pp. 121
Author(s):  
Sri Aju Indrowaty ◽  
Sumarlam Sumarlam Sumarlam
Keyword(s):  
Qualitative Research ◽  
Discourse Analysis ◽  
Social Cognition ◽  
Social Context ◽  
Critical Discourse Analysis ◽  
Critical Discourse ◽  
Library Research ◽  
The Social ◽  
Song Lyrics ◽  
Song Texts

Sri Aju Indrowaty Sumarlam Universitas BrawijayaUniversitas Sebelas Maret [email protected]@gmail.com   AbstrakLagu adalah sesuatu yang membuat pendengar menjadi terhibur, apalagi bila lagu itu mempunyai tema yang tak lekang oleh masa yaitu tema Cinta. Pada Japan Pop atau J-Pop nama Utada Hikaru merupakan penyanyi pop dan pencipta lagu yang tidak asing lagi. Disamping itu termasuk bintang besar di Jepang. Sangat menarik apabila teks lagu dari penyanyi ini dianalisis melalui analisis wacana kritis (Anawa). Artikel ini bertujuan untuk memaparkan analisis teks lagu first love dan Prisoner of love oleh Utada Hikaru dan bagaimana unsur kognisi sosial dan konteks yang terdapat dalam kedua lagu tersebut. Metode yang dipergunakan dalam penelitian ini adalah penelitian deskriptif kualitatif. Teknik pengumpulan data yang digunakan dalam penelitian ini adalah studi kepustakaan (library research). Simpulan dari Analisis wacana kritis pada riset mini ini yaitu Tema pada kedua lagu kenangan dan kekaguman kepada orang yang dicintai. Sedang kognisi sosial lebih menekankan bahwa menikah muda bukan suatu halangan untuk berkarir, sedang konteks sosial kekaguman kepada penyanyi yang bilingual yaitu bisa berbahasa Jepang dan Bahasa Inggris.Keyword : Analisis wacana kritis, lirik lagu, kognisi sosial, konteks  AbstractThe song is something to entertain the listener, especially love songs. A famous Japan Pop, Utada Hikaru is a big star in Japan. It will be very interesting to analyze the song lyrics using critical discourse analysis. This study is aimed at explaining the analysis of song texts of Utada Hikaru’s songs, first love and prisoner and how the elements of social cognition and context existed in those songs. By using descriptive qualitative research, there were some conclusions taken. The conclusion of critical discourse analysis in this mini research is the theme on both songs of memories and admiration to loved ones. Medium social cognition more suppressed young married is not an obstacle to a career, is the social context of admiration for bilingual singers that can be watched Japan and English.Keywords: critical discourse analysis, song lyrics, social cognition, context 

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