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Cover Totobuang Vol4 No1 Jun16 (3).Cdr TOTOBUANG Volume 4 Nomor 1, Juni 2016 Halaman 79—90 ‘PERTUNJUKAN INDAH’ DALAM NOVEL CARRIE (‘Beautiful Performace’ in Novel Carrie) Khoirul Muttaqin Universitas Airlangga Jl. Airlangga No. 4 - 6, Gubeng, Kota SBY, Jawa Timur Pos-el: [email protected] (Diterima: 29 Februari 2016; Direvisi: 29 Mei 2016; Disetujui: 8 Juni 2016) Abstract The objective of this research is to describe the gathering of all kinds of writing styles in novel Carrie. In addition, this research also describes the setting of place that can be found in almost important events in the novel and the oddity experienced by the characters in the novel. The research method used descriptive- qualitative with the approach that focuses on the intrinsic element of the novel that is analyzed by using carnivalistic concept. The result of the research showed that the novel could be categorized into carnivalistic novel because in the novel, there are varous kinds of writing styles that might not be fictional writing. In addition, the fact that the novel belongs to a carnivalistic novel was supported by the setting of place (general place) and the oddity experienced by its characters. In conclusion, the carnivalistic characteristics of the novel makes the novel expose such a “beautiful performance”. Keywords: novel, carnivalistic, beautiful performance Abstrak Penelitian ini bertujuan untuk mendeskripsikan mengenai berjejalnya segala jenis tulisan dalam novel Carrie. Selain itu,dideskripsikan pula adanya latar tempat di sebagian besar peristiwa penting di dalamnya, serta keanehan-keanehan yang dialami tokoh dalam cerpen tersebut. Metode penelitian yang dipakai adalah metode deskriptif-kualitatif dengan pendekatan yang berfokus pada unsur intrinsik novel yang dianalisis dengan konsep karnivalistik.Hasil penelitian ini adalah novel tersebut merupakan jenis novel karnivalistik karena di dalamnya terdapat berbagai macam jenis tulisan yang bisa saja tulisan tersebut bukan tergolong tulisan fiksional.Selain itu kekarnivalistikan novel tersebut didukung dengan adanya latar tempat (tempat umum) dan keanehan yang dialami tokohnya.Simpulanya, ciri kekarnivalistikan novel tersebut membuat novel tersebut seolah menampakkan “pertunjukan indah”. Kata kunci: novel, karnivalistik, pertunjukan indah PENDAHULUAN Sementara itu, Bakhtin (dalam Berbicara mengenai karnivalistik, Suwondo, 2001: 44) menyatakan bahwa mungkin hal ini belum begitu populer di tradisi sastra karnival menjadi sesuatu yang ranah mahasiswa sastra Indonesia, meskipun penting dalam sejarah sastra. Hal tersebut sudah terlihat sejak zaman dahulu. Menurut dikarenakan tradisi sastra karnival mampu Faruk (1999: 45) unsur karnivalistik sudah memberikan dampak yang signifikan bagi terlihat pada karya sastra zaman dahulu munculnya novel polifonik, yaitu melalui (tradisional), terutama dalam legenda. proses perubahan berbagai unsur, terutama Dalam legenda, unsur karnival terlihat unsur komikal (comical) dan perilaku melalui unsur sakral-profan dan pertunjukan karnival. fantastis. Sementara itu, sesuai dengan Unsur karnivalistik tampaknya dapat berbagai perubahan yang terjadi di dalam kita temukan dalam novel berjudul Carrie suatu kehidupan, peristiwa karnivalisasi karya Stephen King. Novel tersebut sudah kesusastraan di zaman modern ini tentulah dialihwahanakan menjadi film. Mengenai mengalami berbagai perubahan bentuk dan cerita dalam novel tersebut mungkin ketika makna. kita melihatnya di film tampak sulit untuk 79 Totobuang, Vol.4, No. 1, Juni 2016: 79—90 menunjukkan bahwa karya Setephen King bahasa simbolik yang diawali dari suatu tersebut adalah bentuk novel polifonik. Akan wujud massa yang besar. Walaupun kita tetapi, jika melihat cerita itu di dalam novel tidak dapat menerjemahkan bahasa simbolik tentu akan terlihat kepolifonikannya tersebut secara tepat ke dalam bahasa verbal Mengenai novel polifonik akan tertentu, karena memang hanya berupa dikutip pendapat Bakhtin. Bakhtin (1973: konsep-konsep abstrak, tetapi kita dapat 100) berpendapat bahwa karnival merupakan mengikutkannya pada transposisi tertentu ke perilaku yang membuka jalan bagi dalam karya sastra. munculnya genre (sastra) baru, yaitu novel Unsur karnival adalah unsur yang polifonik (polyphonic novel). Novel tidak biasa. Hal itu dikarenakan beberapa polifonik merupakan novel yang ditandai unsur yang mencerminkan unsur tersebut di dengan adanya pluralitas suara atau dalam novel bukan hanya tampak pada kesadaran. Suara-suara atau kesadaran itu aspek-aspek internal (tersirat), melainkan secara keseluruhan bersifat dialogis tampak juga pada aspek eksternal (tersurat) (Bakhtin, 1973: 34). Atau dalam arti lain (Suwondo, 2001: 62). Dalam penelitian ini suara tersebut tidak saling menihilkan atau akan diidentifikasi karnivalistik eksternal menguasai (Bakhtin dalam Faruk, 2014: 35). dan internal seperti pendapat Suwundo Bakhtin (1973: 101) menambahkan perilaku tersebut. Hal itu akan menunjukan karnival tersebut tidak hanya membuka jalan ‘pertunjukan indah’ novel tersebut. bagi munculnya novel polifonik terus berhenti setelah sampai puncaknya pada LANDASAN TEORI karya-karya Dostoevsky, tetapi akan terus Unsur Karnival Dalam Karya Sastra hidup sampai sekarang serta pada masa akan Pertama kita akan membahas apa datang. Ketika dalam film, kepolifonikan yang dipaparkan Todorov. Todorov (1985: karya tersebut tampak diceritakan sesuai 4) menjelaskan bahwa objek sastra bukanlah dengan alur cerita sewajarnya. Akan tetapi karya itu sendiri, yang jadi bahan pertanyaan hal tersebut akan tampak berbeda ketika ialah wilayah wacana khusus yang disebut membaca novelnya. karya sastra. Oleh sebab itu, karya sastra Ketika kita membaca novel tersebut dikatakan sebagai bentuk perwujudan kita akan disuguhkan dengan hal yang sebuah struktur yang abstrak dan umum. mungkin aneh karena di dalam novelnya Karya sastra merupakan salah satu realisasi banyak terdapat teks yang jika dikenali yang mungkin terwujud. Sementara itu, bukanlah seperti teks sastra pada umunya, konsep tentang unsur karnival dalam karya ada teks berita di koran, ada pembacaan sastra menurut Suwondo (2001: 24) didasari berita di radio, ada artikel, dan banyak lagi oleh konsep-konsep yang ditawarkan jenis-jenis teks yang mungkin bukanlah teks Bakhtin. Menurutnya, Bakhtin menganggap sastra. bahwa bahasa dianggap sebagai fenomena Dari hal tersebut kita bisa melihat sosial sementara karya sastra dianggap unsur karnival pada novel tersebut. Hal sebagai fenomena ideologi. Berdasarkan hal tersebut bisa kita kaitkan dengan apa yang tersebut, Bakhtin akhirnya menawarkan diungkapkan oleh Bakhtin (dalam Faruk, sebuah konsep yang setelahnya dikenal 1999: 146) bahwa unsur karnival adalah sebagai teori dialogis. Teori tersebut unsur dalam ‘pertunjukan indah’ dari suatu dicetuskan berdasarkan sebuah ide yang karakter ritual (syncretic pageant form of a lebih mendasar dan ide tersebut ritual nature) yang tersendiri dalam bentuk berhubungan dengan konsep filsafat dan jenisnya, kompleks, dan memiliki antropologis, lebih khusus mengenai banyak variasi serta nuansa. Melalui unsur otherness (orang lain). Wacana dialogis karnival tersebut dikembangkan suatu sendiri mempunyai arti wacana yang di 80 “Pertunjukan Indah” dalam .… (Khoirul Muttaqin) dalamnya terkandung paling tidak dua suara, karnival terjadi kontak bebas, apa saja yang dalam suara tersebut terdapat suara lain bisa dilakukan. selain dan di samping suara pengarang atau 2. Dalam pertunjukan setengah drama itu penulis (Bakhtin dalam Faruk, 2014: 235) berkembang modus baru hubungan Todorov (1996: 40) berpendapat antarmanusia yang memiliki perbedaan bahwa karnival merupakan suatu perilaku dengan hubungan antarmanusia dalam yang akarnya tertanam dalam sebuah tatanan kehidupan normal (nonkarnival). dan cara berpikir primordial (paling dasar) Berdasarkan hal tersebut akanmuncul dan berkembang dalam kondisi masyarakat eksentritas, yakni perilaku yang terbebas kelas. Dalam kondisi masyarakat semacam dari setiap otoritas dan hierarki. Secara itulah perilaku karnival berusaha organik, perilaku eksentrik mempunyai menganggap dunia dimiliki semua orang.Hal kaitan dengan kategori kontak-kontak itu membuat mereka (siapa pun yang familier; dan melalui perilaku eksentrik menghuni dunia itu) bisa menjalin kontak itu sisi sifat manusia yang mungkin (dialog) secara bebas, akrab, tanpa dibatasi tersembunyi dapat dimunculkan. oleh tatanan, dogma, atau hierarki sosial. 3. Segala perilaku yang biasa (nilai, Selanjutnya Kristeva (dalam Lechte, pemikiran, benda-benda, fenomena, dan 2006: 24) berpendapat bahwa logika sejenisnya) yang terkukung oleh perilaku karnival tidaklah soal benar atau salah hierarkis dibawa masuk ke dalam suatu ataupun logika ilmu dan keseriusan yang kontak dan kombinasi-kombinasi kuantitatif serta kausal, tetapi logika karnivalistik. Karnival membawanya kualitatif kemenduaan, yang membuat aktor secara bersama-sama, menyatukan atau juga adalah penonton, penghancuran akan menggabungkan dua oposisi biner (suci- memunculkan kreativitas, dan kematian profan, bijak-bodoh, besar-kecil, dan menjadi identik dengan kelahiran kembali. sebagainya). Selanjtunya Bakhtin (dalam 4. Dari berbagai kontak dan kombinasi Suwondo, 2001: 53) berpendapat bahwa karnivalistik itulah akhirnya terjadi unsur karnival bisa dipahami jika setidaknya semacam penghujatan karnivalistik yang melihat empat kategori berikut: memiliki fungsi untuk menerangi atau 1. Adanya pertunjukan indah tanpa memperjelas simbol-simbol otoritas yang panggung, tanpa ada pembagian peran ada. antara sebagai pemain atau penonton. Selanjutnya
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