DOCSLIB.ORG

A. Johns Chairil Anwar: an Interpretation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A. Johns Chairil Anwar: an Interpretation A. Johns Chairil Anwar: An interpretation. In: Bijdragen tot de Taal-, Land- en Volkenkunde 120 (1964), no: 4, Leiden, 393-408 This PDF-file was downloaded from http://www.kitlv-journals.nl Downloaded from Brill.com10/02/2021 01:52:57AM via free access CHAIRIL ANWAR: AN INTERPRETATION r P»he relation of a poet to his environment: his acceptance or | rejection of the world he lives in, its influence upon him, and his transmutation of his total experience into the images that find their inevitable and fitting shrine in his verse — these are perennial and fruitful questions that demand discussion whenever we are confronted with the work of a true poet. All the more so when the poet in question is one of the creators of a new literary tradition in his country, and his formative years are dominated by events as cataclasmic as the Japanesé conquest of the Dutch East Indies in 1941-42, and the sub- sequent struggle for Indonesian independence. Chairil Anwar was born in Medan in 1922 and died in Djakarta in 1949. His formal education extended only as far as the first two years of Junior High School, after which family difficulties caused him to leave home for Djakarta in 1940 — at the age of 18. Very little is known of his life in Djakarta until the Japanesé occupation, when he became recognised as a poet among the circle of Indonesian intellectuals. Only a modicum of his poetry was published before the Japanesé surrender, but after the war his reputation soared: he was regarded as the creator of a new Indonesian poetry who jealously preserved his artistic integrity during the Japanesé occupation, and after the war was a burning patriot. These, broadly speaking, are the terms in which many Indonesian and foreign writers see him. Not that he has received only praise. For a period, at least, it became the fashion to debunk him as a plagiarist. And writers associating themselves with the left-wing cultural asso- ciation Lekra have, on political grounds, uttered severe strictures on his work on the grounds of his existentialist morality, and his cosmo- politan a-political outlook.1 Neither of these views, however, contributes much to an appreciation of Chairil Anwar as a poet, or to an understanding of his poetry as poetry. A direct access to his work has, likewise, been impeded by the popular image he created for himself. It is no exaggeration to say So Virga Belan in Suluh Indonesia 17/4/63. Downloaded from Brill.com10/02/2021 01:52:57AM via free access 394 A. H. JOHNS. that many writers who have directed their attention to him have been so obsessed by his personality that they have never come to grips with his poetry in its own terms. Now, a personality he certainly was. Irregular, arrogant, eccentric, burnt up with an obsessional vitality, he plunged himself into every conceivable type of experience. He had no more and no less respect for the President than for a pedicab driver. He regarded the norms of social life as perpetuated and sustained by hypocrisy, and virtually destroyed himself rather than accept them. Thus, he devoted himself to art; and to be an artist he struggled to emancipate himself from the claims of family, religion and country, leading a characteristically Bohemian existence. But if his irregular life was partly a matter of principle — in the manner of Rimbaud — it was also in part a persona, a mask to conceal his real self which he revealed only in his poems. Chairil Anwar began to write when a whole edifice of social behaviour was brought crashing down in ruins — when existing standards appeared to have lost their application and validity, and concepts of value associated with religion, morality, and the rule of law no longer had any meaning. The poor starved to death unpitied, the Dutch were expropriated, and all were subject to naked force which was the supreme law. This chaos which surrounded him is important for any understanding of his personality, but it should not give the impression that there was anything frenetic or expletive about his verse, still less that it was in any way extemporaneous in character. Chairil's two guiding stars were life and art, to which, however, he attributed a purely existential significance. And he wrote giving expression to a kaleidoscope of moods provoked by the world he lived in. His subject was above all his' own self: his doubts, despairs, nostalgias; what he was, in what he could find relief — all scrutinised and set down with an inexorable honesty and correspondingly steel-like discipline in his technique. His poetry then is an interior poetry: and this, together with his concern with technique which led him to continual revisions of his work, are the two most important facts about his as a poet. His concern with technique was rational, not intuitive. In a letter he wrote: 'As an artist, Ida, I must be penetrating and decisive in evaluating and deciding. Listen!! After Beethoven's death, his note-books were dis- cover ed filled with jottings, the groundwork and preparation for his great melodies. His fifth and ninth symphonies did not appear ready made. He had to work for years before such a work was ripe for the Downloaded from Brill.com10/02/2021 01:52:57AM via free access CHAIRIL ANWAR : AN INTERPRETATION. 395 plucking. The composition ofhis Missa Solemnis took more than five years ... So if I write without putting a total effort into my work, I may degenerate into an itnprovisor.' 2 The same concern is evident in the selections he translated from the letters of R. M. Rilke, chosen, undoubtedly, because they expressed the ideas closest to his heart. The following words from a letter from Rilke to Lou Andreas-Salomé might well have been his own: 'It is not form that I must learn from him, but the profound concentration necessary to create form. I must learn to work, Lou — this is my weakness.' 3 It is usually claimed that Chairil Anwar was influenced principally by the Dutch expressionists Marsman and Slauerhoff, and that, using them as his models, he introduced Expressionism into Indonesian poetry. This affiliation, however, appears too narrow and provincial. His creation of an interior universe, and his dedication to technical perfection, in fact, mark him as an heir to the great movement in modern poetry inaugurated by the French symbolists. It is only neces- sary to read Valery's aphorism, 'a poem is an intricate intellectual problem, a struggle with self-imposed conditions — it is, above all, something constructed', and his favourite simile: 'a poem is like a heavy weight which the poet has carried to the roof bit by bit — the reader is the passer-by upon whom the weight is dropped all at once, and who consequently receives from it in a moment, an overwhelming impression, a complete aesthetic effect, such as the poet has never known in composing it.',4 and compare them with Chairil's attitudes to his art, to realize that we are in the same intellectual world. Chairil Anwar's poetry then is a revelation of his inner self, his moods and attitudes; his poems, accordingly, are not objective com- ments on the external world, although they may be provoked by it; and in the symbolist manner, the content of his poetry, and the components of his images only becomes invested with their full meaning when they are interpreted as symbols of his own moods and attitudes. He tells us as much in 'Rumahku' (My House), which may be sum- marized: 'My house, where I live, take my wife, have my children, is of poetry; it is so transparent that from without all the intimacies 2 H. B. Jassin: Chairil Anwar, Pelopor Angkatan '45 (Gunung Agung, Djakarta 1956) 110. Chairil Anwar's prose is terse and concentrated. The renderings given here are paraphrases. 3 Jassin: Chairil Anwar, 132. 4 E. Wilson, Axel's Castle (Charles Scribner's Sons, New York 1947) 80. Downloaded from Brill.com10/02/2021 01:52:57AM via free access 396 A. H. JOHNS. of my heart and mind are manifest.' 5 The poem is based on 'Woning- looze' (Homeless), by Slauerhoff. But it is also significant to note a sentence occurring in another letter of Rilke that he translated: 'I find, stored within the poems that have become part of me more truth than is to be found in (personal) relations and friendships.' His first published poem is probably 'Nisan' (An Epitaph) (1): It is not [your] death which moves me, But your resignation to all that befell; I had not realised how high above dust And sorrow, nobly you reign.6 The significance of the poem is not immediately clear, nor the focal point of Chairil's personal involvement; and the syntactic patterns of the original, since the form is almost that of a traditional quatrain, are not easily definable. I understand the theme as the gulf between generations; and the cause of Chairil's grief is not so much the loss of the grandmother, but the loss of that sense of acceptance (keridlaan) she epitomized, which could make life bearable. If such is the case, then this first poem sets the stage for all that is to follow. Chairil's world is a broken world. He recognises this and accepts the fact (though not perhaps without a backward glance of regret): better a broken world in which no values are sure, than a whole one, sustained by hypocrisy. Consistency in this attitude does not make for peace of mind: despair awaits round every corner.
Load more

Recommended publications
  • Bertukar Tangkap Dengan Lepas
    Sawerigading, Vol. 26, No. 2, Desember 2020: SAWERIGADING Volume 26 No. 2, Desember 2020 Halaman 149—161 BERTUKAR TANGKAP DENGAN RAJA PENYAIR PUJANGGA BARU: PENGARUH AMIR HAMZAH TERHADAP CHAIRIL ANWAR (Seizing Words with the King of the New Writer: The Influence of Amir Hamzah on Chairil Anwar) Dipa Nugraha Universitas Muhammadiyah Surakarta Jalan A. Yani, Pabelan, Kecamatan Kartasura, Kabupaten Sukoharjo, Indonesia Pos-el: [email protected] (Naskah Diterima Tanggal: 10 November 2020; Direvisi Akhir Tanggal 23 November 2020; Disetujui Tanggal; 24 November 2020) Abstract This article aims to describe the influence of the poem “Padamu Jua” by Amir Hamzah on two poems written by Chairil Anwar, “Di Mesjid” dan “Doa.” It is a qualitative study. The study was conducted using close reading. The result of the analysis showed that Chairil Anwar useds symbolic expressions from Amir Hamzah’s poem. Nevertheless, Chairil Anwar transformeds these symbolic expressions creatively based on his situation in adaptation with his situation when making his poems. The poems where analysed in this study showed a distance issue between the poets and their God. Keywords: Amir Hamzah, Chairil Anwar, close reading, intertextuality, creative process Abstrak Artikel penelitian ini bertujuan mendeskripsikan pengaruh sajak “Padamu Jua” karya Amir Hamzah yang tampak di dalam dua sajak karya Chairil Anwar yang berjudul “Di Mesjid” dan “Doa.” Penelitian ini adalah penelitian kualitatif. Penelitian dilakukan dengan menggunakan pembacaan cermat (close reading). Hasil pembacaan cermat menunjukkan bahwa meski kedua sajak Chairil Anwar yang menjadi objek pembacaan menunjukkan jejak pengaruh ekspresi simbolik Amir Hamzah namun Chairil Anwar secara kreatif mentransformasikan ekspresi simbolik tersebut sesuai dengan situasinya.
    [Show full text]
  • Pramoedya's Developing Literary Concepts- by Martina Heinschke
    Between G elanggang and Lekra: Pramoedya's Developing Literary Concepts- by Martina Heinschke Introduction During the first decade of the New Order, the idea of the autonomy of art was the unchallenged basis for all art production considered legitimate. The term encompasses two significant assumptions. First, it includes the idea that art and/or its individual categories are recognized within society as independent sub-systems that make their own rules, i.e. that art is not subject to influences exerted by other social sub-systems (politics and religion, for example). Secondly, it entails a complex of aesthetic notions that basically tend to exclude all non-artistic considerations from the aesthetic field and to define art as an activity detached from everyday life. An aesthetics of autonomy can create problems for its adherents, as a review of recent occidental art and literary history makes clear. Artists have attempted to overcome these problems by reasserting social ideals (e.g. as in naturalism) or through revolt, as in the avant-garde movements of the twentieth century which challenged the aesthetic norms of the autonomous work of art in order to relocate aesthetic experience at a pivotal point in relation to individual and social life.* 1 * This article is based on parts of my doctoral thesis, Angkatan 45. Literaturkonzeptionen im gesellschafipolitischen Kontext (Berlin: Reimer, 1993). I thank the editors of Indonesia, especially Benedict Anderson, for helpful comments and suggestions. 1 In German studies of literature, the institutionalization of art as an autonomous field and its aesthetic consequences is discussed mainly by Christa Burger and Peter Burger.
    [Show full text]
  • Analisis Karakter Kebangsaan Chairil Anwar Sebagai Pelopor Angkatan 45 Character Analysis of the National Character of Chairil A
    ANALISIS KARAKTER KEBANGSAAN CHAIRIL ANWAR SEBAGAI PELOPOR ANGKATAN 45 CHARACTER ANALYSIS OF THE NATIONAL CHARACTER OF CHAIRIL ANWAR AS A FORCE PIONEER 45 Desy Rahmadani1, Anny Wahyuni2, Budi Purnomo3 1,2,3 Pendidikan Sejarah, Universitas Jambi, Indonesia 1Email: [email protected] Abstrak : Perkembangan zaman menyebabkan timbulnya degradasi moral serta karakter bangsa yang dikhawatirkan semakin memudar. Karakter kebangsaan atau dapat diartikan sebagai sikap cinta tanah air sangat perlu ditanamkan dalam diri setiap individu. Chairil Anwar menuaikan sejarah kehidupannya dalam dunia sastra dan juga sebagai sosok pahlawan yang memperjuangkan kemerdekaan Indonesia. Tujuan ditulisnya artikel ini adalah untuk mendeskripsikan bagaimana karakter kebangsaan dari seorang Chairil Anwar sebagai pelopor angkatan 45 dan figur Chairil dalam kesusastraan. Penulisan artikel ini menggunakan metode penelitian sejarah dengan kajian literature, dengan menggunakan metode penelitian sejarah dan kajian literature ini penulis menarik kesimpulan bahwasanya analisis Karakter Kebangsaan Chairil Anwar Sebagai Pelopor Angkatan 45 banyak tercermin dalam sajak-sajak dan hasil karya kesusastraannnya. Kata kunci: Karakter kebangsaan, Chairil Anwar, Pelopor Angkatan 45 Abstract : The times have caused moral degradation and the nation's character is feared to fade away. National character, or it can be interpreted as an attitude of love for the country, really needs to be instilled in each individual. Chairil Anwar adjusts the history of his life in the world of literature and is also a hero who fought for Indonesian independence. The purpose of writing this article is to describe the national character of Chairil Anwar as a pioneer of generation 45 and Chairil's figure in literature. Writing this article using historical research methods with literature review, using historical research methods and literature review, the writer draws the conclusion that the analysis of Chairil Anwar's National Character as a Pioneer of Generation 45 is reflected in many of his poems and literary works.
    [Show full text]
  • A. Teeuw Modern Indonesian Literature Abroad In
    A. Teeuw Modern Indonesian literature abroad In: Bijdragen tot de Taal-, Land- en Volkenkunde 127 (1971), no: 2, Leiden, 256-263 This PDF-file was downloaded from http://www.kitlv-journals.nl Downloaded from Brill.com10/01/2021 02:40:28AM via free access MODERN INDONESIAN LITERATURE ABROAD I n recent years a growing interest in modern Indonesian literature Jl has become manifest outside Indonesia. It may be useful to give a short survey of such materials as have come to my notice, even though this survey is of necessity incomplete. First of all it should be mentioned that literary, cultural and scholarly journals and magazines have discovered modern Indonesian literature and regularly or incidentally publish translations of poetry, short stories, essays etc. The well-known journal INDONESIA, issued half-yearly by the Modern Indonesia Project of Cornell University, has published a number of Indonesian stories in English translation, for example Idrus' stories Fujinkai and Och... Och ... Och (vol. 2) and Surabaja (vol. 5), Ajip Rosidi's stories Among the Family (vol. 1) and A Japanese (vol. 6), while Heather Sutherland (vol. 6) and Harry Aveling (vol. 7) con- tributed essays on modern literature. Another magazine which deserves to be mentioned as an interesting effort to make available to a wider audience modern literary and other cultural products from Southeast Asia including Indonesia is TENGGARA (tenggara means Southeast). So far five issues have come out, .the latest one bearing the year 1969. Another volume, containing Southeast Asian plays, has been announced. Several short stories, poems and essays on Indonesian literature have been published so far.
    [Show full text]
  • Perbandingan Gaya Bahasa Dalam Novel Atheis Karya Achdiat Karta Mihardja Dan Novel Telegram Karya Putu Wijaya: Tinjauan Stilistika
    1 PERBANDINGAN GAYA BAHASA DALAM NOVEL ATHEIS KARYA ACHDIAT KARTA MIHARDJA DAN NOVEL TELEGRAM KARYA PUTU WIJAYA: TINJAUAN STILISTIKA TESIS Disusun oleh A. ARYANA P1200215002 PROGRAM STUDI BAHASA INDONESIA PROGRAM PASCASARJANA FAKULTAS ILMU BUDAYA UNIVERSITAS HASANUDDIN MAKASSAR 2018 2 PERBANDINGAN GAYA BAHASA DALAM NOVEL ATHEIS KARYA ACHDIAT KARTA MIHARDJA DAN NOVEL TELEGRAM KARYA PUTU WIJAYA: TINJAUAN STILISTIKA TESIS Sebagai Salah Satu Syarat Untuk Mencapai Gelar Magister Pada Program Pascasarjana Universitas Hasanuddin Program Studi Bahasa Indonesia Disusun dan diajukan oleh A. ARYANA P1200215002 PROGRAM PASCASARJANA UNIVERSITAS HASANUDDIN MAKASSAR 2018 3 PERBANDINGAN GAYA BAHASA DALAM NOVEL ATHEIS KARYA ACHDIAT KARTA MIHARDJA DAN NOVEL TELEGRAM KARYA PUTU WIJAYA: TINJAUAN STILISTIKA THE COMPARISON OF LANGUAGE STYLE IN NOVEL ATHEIS BY ACHDIAT KARTA MIHARDJA AND NOVEL TELEGRAM BY PUTU WIJAYA: A STYLISTIC APPROACH TESIS A. ARYANA P1200215002 PROGRAM PASCASARJANA UNIVERSITAS HASANUDDIN MAKASSAR 2018 4 5 PERNYATAAN KEASLIAN TESIS Yang bertanda tangan di bawah ini : Nama : A. Aryana Nomor Pokok : P1200215002 Program Studi : Bahasa Indonesia Menyatakan dengan sebenar-benarnya bahwa tesis yang saya tulis ini merupakan hasil karya sendiri, bukan pengambil alihan tulisan atau pemikiran orang lain. Apabila dikemudian hari terbukti atau dapat dibuktikan bahwa sebagian atau keseluruhan tesis ini hasil karya orang lain, saya bersedia menerima sanksi atas perbuatan tersebut. Makassar, 4 Januari 2018 Yang menyatakan, A. Aryana 6 PRAKATA Puji dan syukur penulis panjatkan kepada Allah Swt. yang senantiasa melimpahkan karunia dan rahmat-Nya, sehingga penulis dapat menyelesaikan tesis ini. Akhirnya tesis ini dapat dirampungkan dalam rangka memenuhi salah satu persyaratan akademis guna memeroleh gelar Magister Humaniora (M.Hum.) pada Program Studi Bahasa Indonesia, Pascasarjana, Fakultas Ilmu Budaya, Universitas Hasanuddin.
    [Show full text]
  • CHAIRIL ANWAR: the POET and Hls LANGUAGE
    VERHANDELINGEN VAN HET KONINKLIJK INSTITUUT VOOR TAAL-, LAND- EN VOLKENKUNDE 63 CHAIRIL ANWAR: THE POET AND HlS LANGUAGE BOBN S. OBMARJATI THB HAGUB - MARTINUS NIJHOFF 1972 CHAIRIL ANWAR So here I am, in the middle way, having had twenty years - Twenty years largely wasted, the years of l'entTe deux guerres - Trying to leam to use words, and every attempt Is a wholly new start, and a different kind of failure Because one has only learnt to get the better of words For the thing one no longer has to say, or the way in which One is no longer disposed to say it. And so each venture Is a new beginning, a raid on the inarticulate With shabby equipment always deteriorating In the genera! mess of imprecision of feeling, Undisciplined squads of emotion ............................. (T. S. Eliot, East CokeT V) To my parents as a partial instalment in return for their devotion To 'MB' with love and in gratitude for sharing serenity and true friendship with me VERHANDELINGEN VAN HET KONINKLIJK INSTITUUT VOOR T AAL-, LAND- EN VOLKENKUNDE 63 CHAIRIL ANWAR: THE POET AND HlS LANGUAGE BOEN S. OEMARJATI THE HAGUE - MARTINUS NIJHOFF 1972 I.S.B.N.90.247.1508.3 T ABLE OF CONTENTS ACKNOWLEDGEMENTS VII PREF ACE IX INTRODUCTION . XIII 1. The Japanese Occupation: The Break with the Past XIII 2. The Situation respecting the Indonesian Language . XIV 3. The Situ at ion in respect of Indonesian Literature XVI 4. Biographical Data . XX LIST OF ABBREVIA TIONS AND SYMBOLS . XXVII CHAPTER I: LANGUAGE AND POE TRY 1.
    [Show full text]
  • Struktur Batin Lima Puisi Chairil Anwar Dalam Kumpulan Puisi Aku Ini Binatang Jalang Oleh Darlis
    Jurnal Bastra (Bahasa dan Sastra) E-ISSN: 2503-3875 E-Jurnal Pendidikan Bahasa dan Sastra Indonesia FKIP UHO STRUKTUR BATIN LIMA PUISI CHAIRIL ANWAR DALAM KUMPULAN PUISI AKU INI BINATANG JALANG OLEH DARLIS [email protected] ABSTRAK Penelitian ini bertujuan untuk mendiskripsikan struktur batin lima puisi dalam kumpulan puisi Aku Ini Binatang Jalang karya Chairil Anwar. Jenis penelitian yang digunakan adalah penelitian kepustakaan (library research). Metode yang digunakan dalam penelitian ini adalah deskriptif kualitatif. Data yang digunakan dalam penelitian adalah data tertulis berupa lima puisi karya Chairil Anwar. Hasil Penelitian menunjukkan bahwa kelima puisi tersebut merupakan puisi perjuangan. kelima puisi tersebut memiliki tema yang hampir serupa dalam konteks yang sama tentang semangat, perjuangan mengisi kemerdekaan. Kesimpulan tersebut didasarkan pada setiap uraian tema pada masing-masing puisi. Selanjutnya tentang nada puisi yaitu tentang kekaguman dan kebanggaan terhadap para pejuang puisi tersebut. Perasaan yang tersirat adalah tentang perasaan bangga dan haru. Bagian akhir dari analisis struktur puisi adalah amanat. Lima puisi yang telah dianalisis, yang menjadi amanat adalah pentingnya memberikan penghargaan terhadap pejuang kemerdekaan. baik secara langsung maupun tersirat, pengarang melalui lima puisi perjuangan tersebut ingin mengungkap tentang kemerdekaan saat ini yang diperoleh dari hasil jeri payah pada pendahulu. Hal ini kiranya perlu untuk dikenang dan mendapat penghargaan tersendiri dalam setiap warga Indonesia. Kata kunci : Struktur Batin, Puisi, Chairil Anwar PENDAHULUAN Umumnya karya sastra me-rupakan bagian karya seni yang ber-hubungan dengan kehidupan manusia serta mendeskripsikan fenomena hidup dalam kehidupan manusia serta segala kompleksitasnya. Karya sastra, seorang pengarang atau penyair berusaha untuk mengungkapkan nilai-nilai kemanusia-an yang lebih tinggi.
    [Show full text]
  • A. Johns Chairil Anwar: an Interpretation
    A. Johns Chairil Anwar: An interpretation. In: Bijdragen tot de Taal-, Land- en Volkenkunde 120 (1964), no: 4, Leiden, 393-408 This PDF-file was downloaded from http://www.kitlv-journals.nl Downloaded from Brill.com09/30/2021 09:51:30PM via free access CHAIRIL ANWAR: AN INTERPRETATION r P»he relation of a poet to his environment: his acceptance or | rejection of the world he lives in, its influence upon him, and his transmutation of his total experience into the images that find their inevitable and fitting shrine in his verse — these are perennial and fruitful questions that demand discussion whenever we are confronted with the work of a true poet. All the more so when the poet in question is one of the creators of a new literary tradition in his country, and his formative years are dominated by events as cataclasmic as the Japanesé conquest of the Dutch East Indies in 1941-42, and the sub- sequent struggle for Indonesian independence. Chairil Anwar was born in Medan in 1922 and died in Djakarta in 1949. His formal education extended only as far as the first two years of Junior High School, after which family difficulties caused him to leave home for Djakarta in 1940 — at the age of 18. Very little is known of his life in Djakarta until the Japanesé occupation, when he became recognised as a poet among the circle of Indonesian intellectuals. Only a modicum of his poetry was published before the Japanesé surrender, but after the war his reputation soared: he was regarded as the creator of a new Indonesian poetry who jealously preserved his artistic integrity during the Japanesé occupation, and after the war was a burning patriot.
    [Show full text]
  • Translation Or Intertextuality: a Literature Comparative Analysis of “The Young Dead Soldiers Do Not Speak” by Archibald
    ELSYA: Journal of English Language Studies Vol. 1, No. 3, October 2020 , pp. 110-117 Available online at: http://ojs.journal.unilak.ac.id/index.php/elsya Translation or Intertextuality: A Literature Comparative Analysis of “The Young Dead Soldiers Do Not Speak” by Archibald MacLeish and “Krawang Bekasi” by Chairil Anwar Fathu Rahman and Fakhriawan Fathu Rahman Universitas Hasanuddin, Makassar, Indonesia [email protected] ARTICLE HISTORY ABSTRACT Received : 24 October 2020 This study aims to pinpoint the relevant relation between two literary works which have a Revised : 4 November 2020 relationship with one another in the perspective of comparative literature studies. Data Accepted : 19 November 2020 were gathered through the text deconstruction theory method by means of an intertextuality approach. The method is applied to juxtapose two well-known poems, KEYWORDS Krawang Bekasi (Indonesia) and The Young Dead Soldiers Do Not Speak (America), which are suspected of having the same content and theme, but their relations were never Poem revealed. This thematic-based study uses a multicultural perspective and is naturally Intertextuality suitable for comparative literature study. The objective of this study was to reveal the Cultural translation existence of Krawang Bekasi as one of the Indonesian poems written by Chairil Anwar Cultural intertexts and to demonstrate the cultural translation methods, known as cultural intertexts relation, Comparative literature for finding the intertextuality of two literary works. In fact, by tabling line through line, Speech acts the intertextuality was found to be workable in comparative literature. As a result, the study shows that Krawang Bekasi by Chairil Anwar is an adaptation which borrows from and transforms The Young Dead Soldiers Do Not Speak by Archibald MacLeish.
    [Show full text]
  • Penyusunan Peta Sastra Melalui Penelusuran Jejak Sastra Indonesia Sebagai Identitas Bangsa Yang Berkarakter Literacy Map Arrange
    Penyusunan peta sastra melalui penelusuran jejak sastra Indonesia sebagai identitas bangsa yang berkarakter Literacy map arrangement through Indonesian literature tracing as nation identity with character Sulaiman1, Priyono Tri Febrianto2 1Program Studi Pendidikan Bahasa dan Sastra Indonesia 2Program Studi Pendidikan Guru Sekolah Dasar Fakultas Ilmu Pendidikan, Universitas Trunojoyo Madura Jalan Raya Telang Po Box 2 Kamal, Bangkalan, Jawa Timur, Indonesia Telepon: (031)3011146 E-mail: [email protected], [email protected] Abstract This research departs from various issues related to the definition of literature which always raises debates and dissatisfaction with the existing definition. Literature as national identity also raises debates. Those two reasons had, directly and indirectly, influenced the development of Indonesian map literature. Formation of Indonesian map literature from different periods needed to be clarified so it could provide a clear definition of Indonesian literature development. The aims of this research are (1) constructing Indonesian literature map which explains the development of Indonesian literacy from different periods; and (2) explaining literature as nation identity with character. To analyze the issues, theories and concepts about literature are applied. This research uses descriptive method. Data gathered by descriptive technique and content analysis. The main finding of this research is that there is a significant influence of Indonesian literature development by tracing Indonesian literature to the formation of nation identity with character. Keywords: Indonesian literature, literary maps, character, national identity Abstrak Penelitian ini berangkat dari berbagai persoalan yang berkaitan dengan pengertian sastra yang hingga saat ini selalu menjadi bahan pembicaraan dan ketidakpuasan terhadap pengertian yang sudah ada. Di samping itu, keberadaan sastra sebagai identitas kebangsaan juga menjadi perdebatan.
    [Show full text]
  • Plagiat Merupakan Tindakan Tidak Terpuji
    PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI KEMAMPUAN SISWA KELAS VII SMP PANGUDI LUHUR MOYUDAN, SLEMAN, YOGYAKARTA DALAM MEMAHAMI PUISI “KARAWANG BEKASI” KARYA CHAIRIL ANWAR TAHUN AJARAN 2008/2009 SKRIPSI Diajukan untuk Memenuhi Salah Satu Syarat Memperoleh Gelar Sarjana Pendidikan Program Studi Pendidikan Bahasa, Sastra Indonesia, dan Daerah Disusun Oleh : Caecilia Nurtiyastuti 031224053 PROGRAM STUDI PENDIDIKAN BAHASA, SASTRA INDONESIA, DAN DAERAH JURUSAN PENDIDIKAN BAHASA DAN SENI FAKULTAS KEGURUAN DAN ILMU PENDIDIKAN UNIVERSITAS SANATA DHARMA YOGYAKARTA 2011 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI KEMAMPUAN SISWA KELAS VII SMP PANGUDI LUHUR MOYUDAN, SLEMAN, YOGYAKARTA DALAM MEMAHAMI PUISI “KARAWANG BEKASI” KARYA CHAIRIL ANWAR TAHUN AJARAN 2008/2009 SKRIPSI Diajukan untuk Memenuhi Salah Satu Syarat Memperoleh Gelar Sarjana Pendidikan Program Studi Pendidikan Bahasa, Sastra Indonesia, dan Daerah Disusun Oleh : Caecilia Nurtiyastuti 031224053 PROGRAM STUDI PENDIDIKAN BAHASA, SASTRA INDONESIA, DAN DAERAH JURUSAN PENDIDIKAN BAHASA DAN SENI FAKULTAS KEGURUAN DAN ILMU PENDIDIKAN UNIVERSITAS SANATA DHARMA YOGYAKARTA 2011 i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI iii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI HALAMAN PERSEMBAHAN Kupersembahkan Karya Sederhana Ini Untuk Kedua Orang Tuaku dan Keluargaku iv PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI HALAMAN MOTO “ORANG SELALU MENGINGINKAN PERUBAHAN SIKAP TERJADI DALAM DIRI ORANG LAIN, BUKAN PADA DIRI MEREKA SENDIRI” “TUHAN SENDIRILAH YANG AKAN MENGERJAKAN
    [Show full text]
  • Chairil Anwar: Antara Vitalitas Dan Kematian Oleh Dina Amalia Susamtoi
    Chairil Anwar: Antara Vitalitas dan Kematian Oleh Dina Amalia Susamtoi Di masa sekolah dasar, saya pertama kali mengenal puisi Chairil Anwar. Puisi yang pernah saya bacakan di depan kelas tentu saja “Aku”, “Doa”, “Diponegoro”, “Karawang Bekasi”, dan “Cerita untuk Dien Tamaela”. Sebagai siswa SD bagian yang saya tanyakan adalah, makna kalimat aku ini binatang jalang dan aku ingin hidup seribu tahun lagi. Kalimat kedua saya pikirkan sendiri jawabannya. Kalimat pertama tidak pernah diberi penjelasan oleh guru saya. Ketika saya dewasa, saya hanya mendengar cerita hidup Chairil sepotong-sepotong dari kalangan sastrawan, sampai akhirnya saya menemukan buku-buku ini. Chairil Anwar adalah seorang penyair, sastrawan pelopor angkatan `45 sebagaimana disematkan oleh kritikus sastra H.B. Jassin. Gelar ini pula yang digoreskan pada nisannya di TPU karet, Jakarta Pusat. Sebatang patung berbentuk pensil menandai makamnya di masa kini dengan nisan bertulis, “Di sini terbaring penyair, pelopor angkatan 45”. Perbaikan makam Chairil dilakukan pada masa gubernur Wiyogo Atmodarwinto dan setelah itu belum pernah dilakukan lagi. Chairil Anwar hidup selama 27 tahun (lahir 1922 dan wafat 1949), sebuah masa yang singkat untuk seseorang yang memiliki bakat terbaik pada masanya. Bagaimana Chairil dalam masa yang singkat tersebut berbuat sesuatu untuk bangsa, seperti yang dikatakannya dalam baris puisi “Diponegoro”: “Sekali berarti, sudah itu mati.”? Buku Chairil karya Hasan Aspahani (Gagas Media, 2016) dan Chairil Anwar Bagimu Negeri Menyediakan Api (Tempo, 2016) mengulas tentang kehidupan dan pemikiran Chairil Anwar, baik dari hasil wawancara dengan para saksi hidup, kumpulan tulisan tentang Chairil Anwar, maupun tulisan Chairil Anwar sendiri yang tersimpan di Perpustakaan H.B. Jassin. Chairil Anwar adalah seorang penyair bohemian yang nakal, jalang, lahir di Binjai, Medan dalam suasana penjajahan Belanda di Kesultanan Deli pada tahun ke-58.
    [Show full text]