Cari di sini




Tentang ku

Alfian Rokhmansyah

Lahir di Pemalang pada hari Rabu tanggal 30 Agustus 1989. Alamat rumah di Jalan Jenderal Sudirman No. 18 RT 007 RW 007 Kelurahan Purwoharjo, Kecamatan Comal, Kabupaten Pemalang. Pendidikan dasar diselesaikan di SD Muhammadiyah 02 Comal dan SMP Negeri 1 Comal. Pendidikan menengah diselesaikan di SMA Negeri 1 Pemalang dengan program studi Ilmu Alam.

Saat ini sedang menempuh pendidikan sarjana di Fakultas Bahasa dan Seni, Universitas Negeri Semarang. Program studi yang ditempuh Sastra Indonesia S1 dengan konsentrasi bidang Ilmu Sastra. Beberapa minggu terakhir ini tengah disibukkan dengan aktivitas bimbingan skripsi bidang kajian resepsi sastra, di tengah kesibukannya menyelesaikan tugas-tugas kuliah. Semoga bisa dinyatakan lulus tahun ini dan menjalani wisuda awal tahun 2011.

Add FB ku ya...

Kamis, 26 Maret 2009

three political drama

1. Background Problems
On May 1998, pecahlah social-political reform in Indonesia. From the financial crisis of the New Order government - which is also related to monetary issues in a global scale, the movement began timbullah presume to utter regime change from the people who dipelopori students. Thus, the power of weapons Salama this money into the capital of the New Order power, for there is no longer issued. New Order also fallen. In the reform, all the degenerate-degenerate (on the practice) for this system of government as to obtain the channel tap is opened. One is how the political power of the government kebujakan effect on the socio-political violence against its own citizens (who do not want to subject to the ruler of all desires). Literature is one that the media want to discuss it. The kind of drama one. Of how can dimaklumi will be more open-opener against the criticism of the authorities in the government that will appear in various stage-stage as a theater director application form from the script stage drama. Drama genre and take advantage of the benefits for this incentive-bergencar utter rottenness authorities
Before 1998, also has a variety of fact showtimes drama enforce the criticism against the government. However, on the condition perpolitikkan existing facilities and utilize the language that have characteristics not directly in the literature, drama, drama is also generally try to conceal as far as possible kritikkan-kritikkannya that. Putu Wijaya to Arifin C. Noer has produced a number of works that discuss the social situsai present in the environment and the desired political authorities about the matter from the culture of corruption in the bureaucracy up to the problems of pressure with the repressive ways of the military activities of the young (and old). However, staging-staging drama is set in such a way as possible so that not until berkonfrontasi directly with the authorized officer. One must accept the consequences of the government is facing frontalannya WAS Rendra. Si penelur collection of poems "The Portrait in Poetry" is to be dicekal director for several years teaternya groups, because they are too loud and overt narrative degenerate-degenerate in the body of the government and the situation is too vulgar social asosial result of the development time of less speak of humanity. Consequently the itupun find places that are more works of popular and light-light that will not endanger the government.
Based on the historical background it is interesting it's the one (or here) some of the 'fight' is to be inspected the contents. The kind of drama is the choice for this paper to fulfill the duties of subjects drama. Due to a desire to do the analysis permbandingan the same text-mewacanakan same social-political issues such as explained above I get (read: choose) three texts as discussion of the drama. Manuscript paper is the first drama Seno Gumira Ajidarma with the title "Why We Kau Culik Anak." Both "The Night" is Soni Farid Maulana and the third is a fruit of Aceh with the title of "Jambo, Luka teraba not" local writer who works not too menasional fella named Solomon Juned.
2. Purpose
The objective of the review on any posts here is to know the extent to which talk about the social-political discourse that bereferensi on the political realities in Indonesia conducted by the writer in his works. Next, sebagimana general discussion of the more than one paper, benchmarking will be done to see the aesthetic variations each. By comparing this expected to be generated pemaknaan that will be more in the rich and on each paper, yangmana they also tied together in the same discourse.
3. Limiting Problems
Appropriate goal would be the problem of the form: that to continue niatan incurred based on the above background it will be the random work of the three. The three works discussed here are dilatar belakangi by their similarity in the discourse about the socio-political themes, the only element in the social-political karyalah that will be peeled in the third drama. Literary elements of the other was only in membantua purposes of the elements of social-political environment. And to examine things that are mentioned, it will be one method dipilihlah the right approach, as will be discussed below.
4. Platform Theory and Methodology
To criticize the social-political discourse in the three works are, as intended in this paper, the approach Intertekstuallah that it is adequate for use. The tenet, or principle Intertekstual came from France and brought up in the flow of French structuralism in the pemikran influenced by the French philosopher, Derrida Jaquaes, and developed by Julia Kristeva (Ratih 2003: 125). Intertektual theory has the assumption that a literary text is always associated with the texts as a reference and mind. Relationship between the text can be to other literary texts, can also to be on the imitation of the universe (in the wider). One form of classification is made in this theory is as Riffaterre bring the term hipogram text for the text as a reference text for the transformation of the so-called transformative text. Works of literature (lyric) full of new meaning (meaningful) after connecting with the work of literature (lyric) due to the fact the paper is a response to literature (serapan, processed, mosaics, quote, transformation) of what already exists in other works of literature (Kristeva in Culler, 1977: 139). Hipogram response from the text in the form of words, phrases. Sentences, shapes, ideas, and the like in the text of transformative creative process so that we (readers) often will not remember again hipogramnya (Nurgiyantoro, 2003: 137).
Intertekstual in approach, method of application is to pengklasifikasian text to the two types of Tech hipogram text and transformative (or transformation). This can examplizeing to the analysis done by the Tirto Suwondo (2003: 136-150) which places the text poetize Chairil Anwar as hipogram Budi's novel Olenka Darma up in some parts of the novel is a quote (intact or with modifications) larik various Chairil rhythm. Or we can also see examples on the implementation of this article Rina Ratih, SS, entitled "Approach Intertekstual Pengkajian In Literature" (in Jabrohim (ed.), 2003: 125-133). Ratih make "To Requestor-requested" the paper Chairil Anwar as text from some text hipogram other poems. Texts from the transformative Chairil lyric is "To The Poor" Toto Sudarto Bachtiar paper, "Mokhsa" Ajip Rosidi paper, "it would turn away (about a beggar who is too)" works of WAS Rendra, and "Pain Sin" fruit of Soebagyo Sastrowardoyo. However, this method approaches Intertekstual also not limited to text written literature. Suwondo, Olenka in penghipograman up above, in addition to the jingle-jingle Chairil Anwar, Olenka also transformed in the discourse about eksistensialismenya Sartre.
Burhan Nurgiyantoro, research in the form of transformation pewayangan element in modern fiction Indonesia (published by the Gadjah Mada University Press for the first time April 1998), in addition to the data is written as a text hipogram filmscript pewayangannya - which has dibukukan tradition of recording up lisannya - also made the With the recorded interviews with experts pewayangan as a source of data. And obviously, his own insights about the grip pewayangan stories or discourses that he know about the epic Mahabharata, surely become hipogram for texts that dianalisisnya transformation. Suwondo before, although a rhythm Chairil the text is written as hipogramnya, writings on the knot by using the term "thought" Chairil (side by side with the "Thought" Sartre) as text hipogram for novel Olenka.
Indeed, in more dipersempit study Intertekstual applied to compare the way (and in the framework penghipograman) between the literary text, so that the characteristic similarities and pemberlainan more easily dikonkretkan identifikasinya because both the text and the text hipogram transformation is still in the 'form' of a kind. When do Chairil Anwar pemberontakkan form of aesthetic poetry kesusastraam in that time against the above, we can identify perbedaab resulting in a classification-hipogram transformation changes the form of poetry from the grip perima and pengiramaan which is still quite tight on the freedom persajakkan although in terms of content each text is to discuss the same. To penghipograman to a discourse of thought, of benchmarking data in form of the sentence or order of words such as in the case of fellow literary text, can not be done. Until, of course, it requires a distinctive form of the text in between penghipograman. During, defenisi basic Intertekstual, namely (in terms) study the relationship between the text still be pijakkan.
Depart from the views MHAbrams the meneorikan approach pragmatik (approaches that assume that a work of imitative mimetis of nature and the real world) as one way of approaching literature and also the views Dekonstruksi, who is also the strong influence of the study Intertekstual, that every text should be ' dismantled 'a variety of different text that melatarinya, can certainly understand how knowledgeable penhipograman that we can dig out of a text. A discourse is something that is almost certainly be located in a (and every) text. Each text (literary works) bertransformasi is always different from the existing abstraksi thought. Events of the history, natural products, structure, social structure, to follow-horn and a behavior (again, each) individuals will bear in mind abstraksi-abstraksi joined in a discourse, and eventually can dikonkretkan, one of them, in works of literature. Even the flow of genetic structuralism claims that the good works of literature are works of literature that is able to reflect situsi social culture in the 'land' (or 'place') or also the environment and the background (again, 'where') birth. Hence is abstruse for each text (literary works of one of them) for the study, irrespective of Intertekstual because each text always have a discourse on the back.
Elements (and socio-political themes) is a discourse that is in eksplor any posts at this time, who will see to-tersatuan discourse interteks between the three works of literature pro-drama genre. Referring to the existing classification, which is required as a method of working, so here can be referred to a discourse about the socio-political conditions as text hipogram top three works are .. Social-political discourse will be bertransformasi to each text that will form characteristics for each story element related to the form of creative writing each story. So, in any posts at this time, besides intertekstual unity between the text that will look equally mewacanakan social-political themes as text hipogramnya, we will also see the typical differences in their respective work, creativity and appropriate variations estetisnya, as a result of the transformation over the same discourse.
By taking a social-political discourse as text hipogram for the third paper, the consequences hipogram this text will be abstraksi thought that there was, not the concrete form of the data written, because, if only menghipogramkan to one or more of the data written mewacanakan the socio-political themes, certainly will be more discussion on the limits of discourse terbatasi speech texts. Meanwhile, also, to complement the materials hipogram with all the text written about the social-political discourse that is not something that is impossible it seems. So, in the form of discourse abstraksi thinking about social-political themes are more appropriate for menghipogrami the three works that will be discussed here. Hipogram can also dipersempit more to the discourse about the social-political situation of Indonesia, because the third is a fictional work and the background areas (kasarnya line) is also the country of Indonesia. However, a line of discourse pemikirandengan political-social elements who pemisahnya between the 'product' and outside India-Indonesia certainly not too firm, but later there are things that can in-eksplisitkan discussion of the problem in detail.
In accordance with the method of classifying parts of the analysis on the text hipogram in this paper a social-political discourse and the transformation of text, three drama script that will be reviewed, and in accordance with the explanation on the theoretical basis, the writing here sistematika will divide the discussion work on (1) social-political elements in the respective papers, and (2) the relevance of discourse and a comparison of three models estetisnya creations. In the first section will be discussed how the social-political discourse, as text hipogram, bertransformasi in each paper, a new section on the second unit will be discussed interteks discourse and how the three variations that arise in each paper. Because, perhaps already the law of nature that every work of literature (drama in this case) certainly has a creative aesthetic form of each pattern to the similarity between each. Brief background on the author of each paper will disinggung at the beginning of the first section. This is because the reason that a paper that contains the elements of social protest, often political, and sociological, is strongly influenced (or will be more meaningful) by the background and history of life (more specific: trends in political attitudes) authors. But in each of the following discussion will first start with the discussion will be the author of the background.

Social Politics 1.Unsur On Each Each paper
Jambo "No Pain Teraba"
Solomon Juned (hereinafter abbreviated SJ), playwright, that's the name of the title is the language of this region. And indeed, he was born in a region, precisely Pidie, Aceh, on May 12, 1965. In kepengarangannya, he never uses a pen name Soel's J. Said Oesy. In addition to genres such as drama script works discussed here, SJ also write poetry, short story, essay, reportase culture, play script, scenario sinetron, and fragments. Since 1980 the paper was published in sastranya mass media that in Aceh, Medan, Padang, Palembang, Riau, Lampung, Yogyakarta, Jakarta and Malaysia. Puisinya also collected in the anthology podium (1990), potpourri Tourism (Reader Komindo Jakarta, 1993), HU (Teater Kuala Aceh, 1994), screaming Freedom (1995), TTBIJ (IPMM Medan, 1995), Ole-ole (anthology reading poems around Aceh with poet Mustafa Ismail, 1994), anthology Poetry Letters (Community Arts Kuflet Padang Panjang, 2000). And adequate nyentrik, SJ, Nurgani fun with it, the court also popularize poetry ala Aceh.
SJ is the founder of mobile work Sanggar Aceh, the founder of Zero Theater SME Syiah (Unsyiah) Kuala Banda Aceh, the founder of the Community Arts Kuflet Padang Panjang. Alumni FKIP PBSI Unsyiah is also known as a film director and journalist. SJ also reach 1 Juara Lomba Cipta Puisi the death Chairil Anwar se-Aceh in 1985. IV Juara Lomba Cipta Puisi Social se-Sumatra in 1995, a former journalist "Peritiwa Aceh", 1989-1995, former member of the Committee of the Board of Literary Arts in Aceh, 1995-2000, and Secretary of Arts Aceh, 1995-1997. SJ is now recorded as a lecturer at STSI Padang Panjang, Department of Theater, Channel Penyutradaraan.
As the people of Aceh, a theme carried by SJ in his time very day not far from the conditions in his country. In this drama there are two figures, namely Abraham and Polem brother iparnya. With berlatarkan a rice field with the loom (which is in the Acehnese language is' jambo 'as drama this title) is located in the midst. Abraham and Polem, while overseeing the rice from interference in persawahannya sparrow, dialogue about the current condition of his country was the conflict between troops and Wages The Ateuh (above) is as interminable. Wages in the kenyatannya troops to the military that the military operation in Aceh and Ateuh They have two references: the first member of GAM as the armed rebels, the second is the nation of Aceh as a whole that is pressed or depressed at least by the TNI. In this drama is not quite visible distinction between people with the GAM in Aceh due to the overall pengacuan The Ateuh that gives the two possible. But reality in the narrative that not all people in Aceh against the central government. Then the stories of the real world also said that GAM menteror join the community, in this drama is the only military that made the enemy of the people of Aceh.
Framework are presented from a frontal distinction The Wages (TNI) and The Ateuh (GAM or the people of Aceh) that is not happening on the relationship between the angle of Abraham and Polem. As the reality on the ground, he said, between the two figures together people of Aceh there are differences penyikapan of the TNI (more knowledgeable or more of the central government). He is a person who holds that only the senjatalah answers that can be given (to the story he dikhir leave Polem ago to lift the weapons in the hands of the military dead), are Polem that dialogue must continue efforts. But both are still not deny the existence of the GAM for GAM in this story is considered to be the people who were forced to fight (as represented in the establishment and keputasan eventually captured him). And the position of the TNI troops dibaluti term wage is fixed as a suppressor tranquility of the nation of Aceh.
In terms of naming that we can assess Polem name similar to the name of one of the combatants kemerdakaan national leaders from Aceh. That is also, perhaps, is the view Polem, figure this drama, is more than kompromistis Abraham. As representatives from prominent national hero Polem diwajarkan think certainly in the view that the central government is still regarded as worthy brother. Panglima Polim as national leaders in that era have also not fight together with all other national leaders on behalf of one of the same nation and country. He currently can be considered as a reflection of the general youth Aceh. Aceh is a province of the very thick of the name for the arab people. And the general public views as common in Aceh, he was represented to describe the keputus asaan that most of the people, with different Polem represents a more moderate attitude in oposisinya or citraan against Ibrahim, Polem is citraan from the local government apparatus that kompromistis with the central government.
Issues keputus asaan nation Aceh against the central government of political power is what you want to be submitted by SJ in dramanya. With the position as a writer and the young intellectual, SJ of the opportunity to pour through the medium of literature is to all the community about the condition of the area. Area on the reality that the ongoing political pressure was the center of power and conflict weapons drawn. Somehow very natural form of flood Tsunami recently going concern and his brothers as more countries will improve the situation.
Night People
Soni Farid Maulana was born in Tasikmalaya, West Java, 19 February 1962. SMU Setamatnya Pancasila in Tasikmalaya, he continue to study Asti (STSI) Bandung. Lyric-lyric poet who worked as a journalist this Pikiran Rakyat daily in various media in the country, and some have been translated into Dutch and German. Puisinya collection of books that have been published anatar others: Kecubung Flowers (1984), World Without a Map (1985), crematory Sun (1985), the pilgrims (1987), Sun Fog (1989), Kalakay Mega (1992), Guguran Debu (1994 ), Panorama Darkness (1996), Song In Rain (1996), after Rain (1996), The Foreign Dream (1997), Mirror Dreams Home (1999), Birth As We tales (2000), Palung Pain (2001) and Children Fog (2002). As a journalist, he had also obtained Anugerah Zulharmans from PWI Journalism Center (1999/2000) on the report jurnalistiknya the poet Taufiq Ismail Peka History was published in HU. Pikiran Rakyat. As a poet, he was many times invited to read a number of puisinya in Taman Ismail Marzuki (TIM) Jakarta, among others in 1987 Indonesia forum Poetry. In 1990 following the East Asian Writers Conference IV in Queezon City, Philippines, and the 1999 Festival de Winternachten, in Den Haag, Netherlands.
Because of poetry, a man (Kimung figure) and a woman (Dirah figure), which may eventually meet the first time feel so familiar. Feeling no resemblance past and the romantic relationship that has as a result of so-sticky. Because of poetry, a pair of men-women have felt the same fate, grief, feeling indignant, hatred, fear and rebellion similar to the suppressor tirani a similar country in a certain kind of face that babies like soft, smooth and have hands clean, as if freed from sin. This is the gist of the story script drama "The Night" Soni this paper. Manuscript through the published literature magazine horizon, though, including short story, are presented in the form of three parts. In addition to the content of the story, just very day condense indicate peruntukkan for staging a script for this drama.
This story begins when Kimung preach on 750 years in a city park. A lonely long. Night is always the night continued, the cold and lonely like a stone in the bottom of time. He remembers a woman who had found and then separated at a time after disturbance. She called Dirah, someone who later became known victim was a tirani. Log in to the city park, they met in the garden city. Then, remind each other with poems about love, solitude, oppression, longing, the first ever to write them. Both were told about the past by the strong smell pesing prison, bullet whiz, casting stones, aroma of blood and rape incident in a bitter land of a certain kind of face clean. A country of their habitation since 750 years ago.
From the plot in this drama and keabsurdan model with all the story, we can menganalogikan reference to the political reality is that authoritarian government in Indonesia coloring. Obviously that figure tormentor in this drama to the intelligence officer responsible for maintaining the order of the country. Dirah and also refers to the activists who rapt by the state. Shown how the suffering that must be experienced by those who are not favored by the ruler. And they work to defend the interests of the people is also small, which adilan harmed by the government and the becusan the country. And options for the way life is, that the activists (who disimbolkan to figure Dirah) and lovers or friends or acquaintances of every activist must be ready to meet the bitter reality of life. Although the suffering and misery, this drama shows how the figures are still up on the struggle of their hearts. Ending the story itself shows how their struggle has not work out, and they remain in the successor generation.
Why Kau Culik Anak Us
Seno Gumira Ajidarma was born in Boston, USA, 19 June 1958. After graduating high school de Brito Yogyakarta, he was to continue studies at the Film Department, Institut Kesenian Jakarta. He initially write poems using the name Mira Sato. 1976, he began writing short stories "Sketsa In One Day" which was published in the National Daily News, Yogyakarta (now Bernas). At Seno pertengah 1970 has started to play different types of theater with a theater tradition in general popularity at that time in various theater groups in Yogyakarta. In the years of the same in parallel Putu Wijaya mengusung model perteateran also the same in Jakarta. He had been the editor in chief Sinema Indonesia (1980), Zaman editor (1983-84), and since 1985 working in the magazine Jakarta-Jakarta. With Mira Sato fictitious name he had published a collection of poetry grenade and dynamite (1975 with Ajie Sudarmadji Mukhsin), Mai Dead Dead (1975), Dead Babies (1978), Note-record Mira Sato (1978). Since then write and publish books-books with the original names such as: Human Room (1988), Eye Witness (1994), is singing in the Bathroom (1995), A Question for Love (1996), Negeri Fog (1996), Jazz, rhythm, Parrrffum and incidence (1996) Ibllis Never Dead (1999), the name Night (1999), The Screen (2000), Wisanggeni (2000), and others. He also write rhymes, I Bertutur Film in Australia: 20 Scenario Winner FFI Citra 11973-1992.
Cepennya "Subject coal" as a short story dinobatkan best daily Kompas (1992) and published in the coal Subject (1993). Since then the successive cliff-cerpennya included in Lampor (1994), Men's Single With the Peri (1995), pistol Peace (1996), Dogs grave attack-dog (1997), and Derabat (1999). Cerpennya "Songs Along the River" is selected for antogi English: Menagerie. Cerpennya "Segitiga Gold" champion to reach the second Sayembara coal Cerpen Daily Updates Voters 1990-1991. In 1994 he obtained the prize from the Center for Development and Pengembanngan Language, Education and Culture Depertemen RI set up cerpennya Eye Witness. In 1997 he achieved the prize of best books Book Foundation for his book A Main Questions To Love, and the SEA Write Award from the Kingdom of Thailand for the achievement so far.
Drama Seno discussed here are in the collection of books dramanya published in 2001 and given the same title. There are three drama there, which is explicitly presented that the theme and are triggered by political violence that occurred in Indonesia, which is both of them again with the title "Tumirah, the Mucikari" and "Jakarta 2039". Drama "Why We Kau Culik This" is a theatrical three innings with two prominent figures of the Father and Mother. Told this drama about a pair of husband and wife who has lost their son only called Satria, an activist who, by the rapt 'people do not know', and now rimbanya unnoticed. At home, both husband and wife couple that talk about the various possibilities that occur even though her son is on the one hand, because of the pain, they try to forget. The story is revolving from the husband-wife about the nature of the people who kidnap their children, the possibility of a description of events that occurred during pengintograsian children, to their past history and the trajectory of violence related to political activities. And second husband-wife that can not do anything to know of the existence of his son.
As explicitly said in the book collection of cerpennya, story in the light of all this drama refers to the events of the kidnapping of activists made by authorized officials in the land beloved Indonesia highway. Of course, nothing else is not is not the people who do the kidnapping is also a human compatriot setanah and water with a good husband-wife and Satria, their son. But they were indeed be by order of the authorities to secure the country according to their version or perpetuate their power according to the version they are not. And because of that do this also human, pair up a husband-wife the way I thought the people who make the abduction. Do they still have hearts dam generally feeling like a human, let alone, such as music lyrics Serious Band, rockkerrr jugaa manusiaaa ..., have a sense of heart. Then "why you culik our children?" Said the playwright, said the two leaders this drama. Power, it is certainly the answer. A top side otoritasi social-political community.

2. Relevance Wacana Third paper and Creativity Estetisnya Model Comparison
Relevance Wacana
In this section, will be seen how the textual interteks of drama between these three. As already mentioned in the beginning, with the object pengklasifikasian research interteks to the two types of text, it can be mentioned here three drama script as a transformative text berhipogram to the discourse about the socio-political themes. Discussion of the contents of each of the three works can be seen that they have the same elements as the elements of social-political theme. More specific disebutka that can discuss about a third of the repressive actions of the ruler to maintain his hegemony. Can certainly understand that this is the element in the socio-political society. Shown on paper how the third-tokohnya figures are examples of a subject kesewenangan powers that be crushed by political authorities. How each character having their lives due to pressure on the social-political situation facing the same paper described a third. They were voiceless and arogansi blame and defend the sovereignty represifitas-tokohnya leaders must accept the bitterness of life in the pressure regime. Each of them is the people who have experienced social keberlainan because not subject to the authorities how to manage the life form.
The mimetis, the same paper refers to the historical realities of power represifitas in India - with the different levels keabsurdan each. Since the Reform era in 1998, sore sore-how to keep power by the government with the field can be discussed everywhere. Not all the political power of the government-period New Order, from the follow-up 'security' of the activists who are considered dangerous' ketentraman 'berwarga country to do military option in disintegrasitas Resolving the issues in the area of violence and how that applied to it, a soft material to be appointed to the surface after a period of freedom comes a voice of political power after prostrate Cage government. One of the most often used for retail 'sins' are past works of literature. Matters such as this is used by the third author of the paper, which in the past that, it seems impossible to do. Indeed, three papers were published several years after the era of Reform run. And once again for the third paper, this is the opportunity to jointly raise the discourse about the socio-political violence by authorities, in Indonesia.
That should be added a little more relevance in the discourse between the three works is that in the case of third drama together two leaders in the dialogue carries the story-dialogue. Perhaps this departure from the possibility that a work inspired from the social discourse of violence political process will produce a two-way dialogue in inner author, limited to the third example the paper discussed here.
After departing from the point of view that a third of the drama here is the same as the text of transformative berhipogram to the social-political discourse (in Indonesia eksplisitnya), we now depart from the point of view that the social-political discourse will have Variations (estetik) each in the Transformation of a paper. This is certainly related to the specific background of each paper to every whim of the author, stilistik. In the third type of genrenya paper is equally included in the drama category of literature-the same media using the same dialog as penyampai story, but typical to the specific author of each paper will bear the contents of different forms of maupn on each paper .
First, in terms of keabsurdan paper, Soni dramanya ranks first. Assessment materials that story is also a concrete refer to the same background, ie, social-political situation in Indonesia during the New Order power, segampang not find it on the other two papers. There pemberjarakan Soni made in selecting material for the story to reveal the socio-political discourse is. For example, the selection in the case where the background story that is not real, a place somewhere, or the age that is not analogous figures again with the real world logic. On dramanya Seno, keabsurdan was abolished. In drama Seno clearly the leaders live in a house that makes sense in the reality of life. In SJ dramanya, we see there is no business for me-too realistiskan story with the use of words such as wages for the military apparatus that torment the people of Aceh. However keterlalu berspesifikkan the paper discuss the fate of the 'nation' in Aceh, making pengkaburan-pengkaburan types are very easy to detect reality. Moreover, one of the efforts penspesifikkan it is in the background-nyebutkan Aceh Loen Sayang song, which will be very mengkongkritkan intention authors. Even in the case penggebu-gebuan, and SJ dramanya seemed more realistic than the drama Seno fact that even though the teller is. In drama there is no effort Seno menggebu-gebu to reveal problems with nudity.
Then viewed from the exposure of story, one that strengthens the absurd-an Soni paper is due to the use of lyric prose-sentence clause in the dialogue, this is also related with the capability and Soni own background as a poet. With different forms of language in the drama SJ realistic sentences in a conversation between Abraham and Polem (although with no business pengaburan as mentioned earlier). This produces an effect more obvious drama SJ background and meaning of the story, while in the work of Soni will be found because there are many possibilities for interpretation of the process that should be more. Meanwhile, in the Seno dramanya also use sentence-sentence, but not realistic drama sekaku SJ menggebu that deliver content-gebu story. Seno language more relaxed because it is shaped ujaran many day-to-day.
Things that need to be second in the background is the real social-political discourse for each paper. SJ drama is clearly talking about the policy implications of the military operation in Aceh, Seno drama based on events of the kidnapping of activists who are also the same as in the drama Soni. Soni figures in drama is a subject that is experiencing political violence. While the figures in the drama Seno is a subject of direct relatives of political violence and suffering involved in any. For drama SJ, figure-tokohnya is actually representative of the people of Aceh. So in the drama is more extensive because the subject is brighter pewakilannya. So an example of a discourse of violence as a socio-political text hipogram realized in the third paper background each specific. Then we can see the difference more in terms of the settlement of issues in each story. In drama Soni, is a figure that has been pass-the oppression and live in hope the younger generation. In drama Seno, figure-tokohnya the facts can only be political oppression and can not do anything. In the drama SJ, Ibrahim leaders decided to fight against the oppression of faces. But pulling, if the drama in the other two figures tokohnya-Akur accept that fact must be accepted. Figures in the drama SJ, and Abraham Polem different opinions in the search for a settlement for their suffering, however they like in the case that they just can not be silent.
Here are some comparisons that we can see the drama of the three texts which together berhipogram to discourse about the social-political themes. In addition we see how things are similar in their pentransformasian, but there are also variations that appear as the creativity of each individual paper. Aesthetics and this is the individual that becomes the identity of each of the goods to a berhipogram the same text.
Things that can be concluded from the discussion of the third interteteks this drama, the same berhipogram to the thematic discourse about political violence is social: first, the discourse of social-political get enough appreciation in literature works garapan drama. Second, according to the background fit and the author of aesthetic specifications you want to be told of the problems that, in the form of text hipogram socio-political discourse is estetikanya find variations on each paper in the form of a level keabsurdan and diksi-diksi language variation and also the application of background themes expressed.
The suggestions can be submitted from the results of this discussion are: the socio-political discourse is a theme that is quite interesting for a variety of possibilities examined the relevance of discourse and pemerbandingannya in the works of literature and Indonesia will be further research is expected and far more to enrich the theory - theory that can be generated from literary research.

list of libraries
1.Jabrohim (ed). 2003. Metodologi Penelitian Sastra. Yogyakarta: Hanindita Graha Widya.
2.Suwondo, Tirto. 2003. Studi Sastra ; Beberapa Alternatif. Yogyakarta: Hanindita Graha Widya.
3.Ajidarma, Seno Gumira. 2001. “Mengapa Kau Culik Anak Kami?” terdapat dalam kumpulan drama Mengapa Kau Culik Anak Kami?. Yogyakarta: Galang Press.
4.Maulana, Soni Farid. 2003. “Orang Malam” dimuat dalam Majalah Horison edisi XXXVI (april 2003).
5.Juned, Sulaiman. 2003. “Jambo (Luka Tak Teraba)” dimuat dalam Majalah Horison edisi XXXVII (november 2003).
6.Nurgiyantoro, Burhan. 1998. Transformasi Unsur Pewayangan Dalam Fiksi Indonesia. Yogyakarta: Gadjah Mada University Press.

Tidak ada komentar:

Poskan Komentar

Silakan tinggalkan pesan anda untuk tulisan ini...