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All Journal MAKNA: Jurnal Kajian Komunikasi, Bahasa dan Budaya Al-Tsaqafa: Jurnal Ilmiah Peradaban Islam CALL Saksama: Jurnal Sastra
Pepen Priyawan
UIN Sunan Gunung Djati Bandung
Arts Humanities Languange, Linguistic, Communication & Media Social Sciences Other

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DEMON AS FORM OF SATIRICAL STATEMENT IN DRAMA THE TRAGICAL HISTORY OF DOCTOR FAUSTUS Maulani Fitri Fadlilah; Pepen Priyawan
CALL Vol 3, No 2 (2021): CALL
Publisher : Universitas Islam Negeri Sunan Gunung Djati

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/call.v3i2.12503

Abstract

This study focuses on a word or line that is identified as satire in a drama entitled The Tragical History of Doctor Faustus. The data was taken in the form of dialogues from the characters. Demon as a satirical expression means that the words or line identified as satire was built by several elements that are attached with demon characteristics (demonic). Demon is a creature who has clear characteristics as a bad set. The bad character of the demon is representative of satire. The character demon is a representation of ugliness or evil of the object criticized in the drama The Tragical History of Doctor Faustus. Researchers used the descriptive analysis method by Ratna (2004) in conducting this research. Descriptive analysis is a method used to analyze data and facts in the text and then interpret them. The researcher used two theories in seeing the story. Inter-relationship principle and semiotic.   The results of this research found three important elements in accordance with the topic of this research. The first is the antagonist character Mephistophilis, the demon. The second is the allusion to Franciscan Friar. Third, the phrase holy shape becomes the devil best is satire. Thus, the combination of elements leads to a demon as a form of satirical expression.Keywords: Satire, Demon, Allusion
IDEOLOGI ORANG BIASA: NILAI-NILAI KULTURAL MASYARAKAT PANTURA JAWA BARAT DALAM SENI DAN LAGU TARLING Dian Nurrachman; Hasbi Assiddiqi; Rohanda Rohanda; Pepen Priyawan
Al-Tsaqafa : Jurnal Ilmiah Peradaban Islam Vol 16, No 2 (2019): Al-Tsaqafa: Jurnal Ilmiah Peradaban Islam
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/al-tsaqafa.v16i2.5762

Abstract

Penelitian ini tentang tradisi dan narasi Seni Tarling yang berkembang di wilayah pesisir pantai utara (pantura) Jawa Barat, khususnya daerah Subang, Indramayu, dan Cirebon. Penelitian ini bertujuan untuk mengetahui sejarah Tarling dari awal sampai perkembangannya hari ini, bagaimana pertunjukan Tarling, narasi-narasi lagu Tarling dalam kaitannya dengan konteks sosiologis-antropologis masyarakat Pantura, serta nilai-nilai kultural yang diusung dalam Seni Tarling secara keseluruhan. Pada gilirannya, aspek yang disebut terakhir, yaitu nilai-nilai kultural, akan dikaitkan secara interdisiplin dengan menggunakan teori ilmiah Sosiologi Sastra untuk menemukan ideologi dan identitas masyarakat Pantura. Pengaitan ini adalah satu keniscayaan karena struktur-struktur yang dibangun dalam seni/kesenian—dalam hal ini Seni Tarling—berikut struktur kebahasaan-kesastraan (tuturan, nada, metafora, dan simbol) yang tercermin dalam narasi lagunya memiliki unsur homologis (kesamaan struktur) dengan struktur masyarakat yang membangunnya. Dalam konteks sosiologi seni/sastra, bangunan (struktur) karya seni adalah ‘fakta kemanusiaan’ sebagi wujud artefak budaya yang dihasilkan dari aktivitas manusia, baik dalam hubungannya dengan dirinya sendiri maupun dengan orang lain. Sedangkan masyarakat yang membangun karya seni itu adalah ‘subyek kolektif’, yaitu realitas trans-individual yang menjadi latar belakang hadirnya fakta kemanusiaan tersebut, karena fakta-fakta seperti itu juga tidak akan pernah merupakan hasil aktivitas subyek individual, melainkan subyek kolektif sebagai realitas hubungan antar manusia dalam segala aspek kehidupannya. Melalui proses teorisasi struktur di atas, sosiologi sastra kemudian menghadirkan sebuah pengkajian “homologis. Kata Kunci: Tarling, Pantura, identitas, sosiologi sastra, struktur homologis
WHEN FANS AND HATERS ARE ON THE SAME BOAT: A DECONSTRUCTIVE READING OF BOWO AND TIK TOK Alisya Rusdianti; Adinda Nurfauziah; Asmarani Ahsan; Pepen Priyawan
Makna: Jurnal Kajian Komunikasi, Bahasa, dan Budaya Vol 5 No 2 (2019): MAKNA: Jurnal Kajian Komunikasi, Bahasa, dan Budaya
Publisher : Fakultas Komunikasi, Sastra, dan Bahasa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33558/makna.v5i2.1581

Abstract

This literary research is exemplifying about deconstruction of the existence and thought towards fans and haters of Bowo related to his Tik Tok account. This Paper indicates the reflections for the netizens. To get the reflection by conducting the data some theories which need to apply in this research to get the real essence of truth of the comments and any other particular object is Deconstruction by Derrida. Furthermore, to analyze that Industry is using many of objects to deceive people, in this case is netizens, Fans and Haters of Bowo the researchers apply Cultural Studies by Adorno and Horkheimer. Afterwards the researchers will show the essential role and judgments of fans and haters of Bowo the researcher apply difference then it will be conclude by Paradox and Parallel. This paper also applied the descriptive qualitative method to conduct the informations and data then get the reflections. The result is reflections for netizens who are active in giving comments and judging in social media. The reflections indicate the deception of Industrial field in getting viral of Bowo and Tik Tok for the netizens. In this case the netizen will be warned that they are deceived by Industry with Tik Tok App through Bowo. Besides the netizens, the research also indicating the reflection for the female adolescence netizens that they have similar role in commenting and judging Bowo, moreover they also deceived in the same condition between adoring and abhorring, they will be considered as bystander due to the comments that they have been texted in Bowo’s Instagram account are judging.
PICARESQUE NOVELS IN CANNERY ROW, CANDIDE OR OPTIMISM, AND DON QUIJOTE Muhamad Ghifari Muharam; Tenny Sudjatnika; Pepen Priyawan
Saksama: Jurnal Sastra Vol 1, No 2 (2022): Saksama
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (673.297 KB) | DOI: 10.15575/sksm.v1i2.25098

Abstract

The research compared rascals in three Picaresque novels: Cannery Row, Candide or Optimism, and Don Quijote. It used Picaresque theories from Clarence Hugh Holman (1972), as well as Gustavo Pellon and Julio Rodriguez-Luis (1986), that specified rascal or rogue. This understanding explains how some Picaresque novels feature rascal characters who are silly, stupid, reckless, rude and have other negative traits, but they also have qualities of kindness, a good heart, and attentiveness hidden behind them. Mack and the boys, Candide, and Don Quijote are all depicted as rogues. The Picaresque element is used as a formula in the story to determine and exemplify rascal values. The researcher stated two problems related to Picaresque rascal: what are the similarities between Picaresque rascals in Cannery Row, Candide or Optimism, and Don Quijote? In addition, the purpose of this research is to identify Picaresque rascals in three objects. Furthermore, this research utilizes Ian Dey's (1993) literary criticism method, namely qualitative analysis. It is used to decipher the data of each object one by one and to obtain information about the Picaresque. The researcher then used Susan Bassnett's (1999) comparative method to compare topics. The similarities between the three objects are the results of this research. The similarities are rascals, education, instability of personality, criminality, and themes.  Keywords: Comparative Literature 1; Elements 2; Novel 3; Picaresque 4; Rascal 5
Co-Authors Adinda Nurfauziah Alisya Rusdianti Asmarani Ahsan Dian Nurrachman Hasbi Assiddiqi Maulani Fitri Fadlilah Muhamad Ghifari Muharam Rohanda Rohanda Tenny Sudjatnika