KAJIAN STILISTIKA TRILOGI NOVEL RONGGENG DUKUH PARUK KARYA AHMAD TOHARI: PERSPEKTIF KRITIK HOLISTIK

ABSTRAK
Ali Imron Al-Ma’ruf. T1122001. “Kajian Stilistika Novel Trilogi Ronggeng Dukuh Paruk Karya Ahmad Tohari: Perspektif Kritik Holistik.” Disertasi. Program Pascasarjana Universitas Sebelas Maret Surakarta. 2009. Promotor: Prof. Dr. H. Soediro Satoto dan Ko-Promotor: Prof. Dr. H. D. Edi Subroto.
Penelitian ini bertujuan untuk: (1) mendeskripsikan stilistika novel Ronggeng Dukuh Paruk (RDP) berupa diksi, kalimat, wacana, bahasa figuratif, dan citraan (faktor objektif); (2) memaparkan latar sosiohistoris pengarang sebagai kreator stilistika RDP (faktor genetik); (3) mendeskripsikan makna stilistika RDP secara holistik berkaitan dengan latar sosiohistoris pengarang berdasarkan tanggapan pembaca (faktor afektif).
Penelitian ini menggunakan metode kualitatif-deskriptif dengan strategi berpikir hermeneutik dalam perspektif kritik holistik. Penelitian ini merupakan studi kasus tunggal yakni stilistika RDP dan studi kasus terpancang (embedded case study) mengingat fokus utama penelitian yakni stilistika RDP sudah ditentukan sejak awal untuk membimbing arah penelitian. Kajian stilistika RDP ini termasuk kajian stilistika genetik yakni mengkaji stilistika RDP karya seorang pengarang, Ahmad Tohari. Sesuai dengan pendekatan kritik holistik, data penelitian terdiri atas tiga kelompok, yakni: (1) data faktor objektif berupa stilistika RDP yakni wujud pemanfaatan diksi, kalimat, wacana, bahasa figuratif, dan citraan; (2) data faktor genetik berupa latar sosiohistoris pengarang; (3) data faktor afektif berupa tanggapan pembaca terhadap stilistika RDP. Sumber datanya adalah: pustaka dan narasumber (informant). Pengumpulan data dilakukan melalui teknik: (1) simak dan catat, (2) pustaka, (3) wawancara mendalam (in-depth interviewing), dan (4) focus group discussion (FGD). Validasi data dilakukan dengan teknik trianggulasi data dan trianggulasi teori. Pemeriksaan kredibilitas data dilakukan dengan: (1) informant review, (2) pembuatan data base, dan (3) penyusunan mata rantai bukti penelitian. Adapun analisis data dilakukan dengan model interaktif dengan langkah: (1) reduksi data, (2) sajian data, dan (3) penarikan simpulan dan verifikasi data. Selanjutnya, pengungkapan makna stilistika RDP dilakukan dengan metode pembacaan model Semiotik yakni pembacaan heuristik dan hermeneutik dengan pendekatan teori Semiotik, Interteks, dan Resepsi Sastra.
Hasil penelitian dengan pendekatan kritik holistik menunjukkan bahwa faktor objektif yakni stilistika RDP memiliki keunikan dan kekhasan yang tidak ditemukan dalam karya sastra lain sekaligus membuktikan kompetensi Tohari dalam pemberdayaan potensi bahasa. Hal itu dapat dilihat pada: (1) diksi yang unik dan khas Tohari meliputi kata konotatif, kata konkret, kata serapan, kata sapaan khas dan nama diri, kata seru, kata vulgar, kata dengan objek realitas alam, dan kata dari bahasa Jawa. Tiap jenis diksi tersebut memiliki fungsi masing-masing dalam mengekspresikan gagasan. Dari tujuh jenis diksi itu, kata konotatiflah yang dominan; (2) kalimat dalam RDP sangat variatif dari kalimat dengan sarana retorika, penyiasatan struktur, hingga penyimpangan kaidah; (3) wacana RDP juga beragam dari gaya wacana dengan kombinasi sarana retorika dan alih kode; (4) bahasa figuratif dalam RDP sangat indah dan kaya variasi sebagai hasil kreasi Tohari. Dengan bahasa figuratif itu bahasa RDP menjadi ekspresif, asosiatif, dan estetis. Dari bahasa figuratif yang diteliti yakni majas, tuturan idiomatik, dan peribahasa, majaslah yang dominan; (5) citraan kreasi Tohari mampu menghidupkan lukisan, membangkitkan imajinasi, emosi, dan intelektualitas pembaca. Citraan dalam RDP meliputi tujuh jenis yakni: a. citraan penglihatan, b. pendengaran, c. perabaan, d. penciuman, e. gerak, f. pencecapan, dan g. intelektual yang dimanfaatkan Tohari guna memberikan daya hidup, lebih ekspresif, dan mengesankan pembaca. Dari tujuh citraan itu, yang dominan adalah citraan intelektual. Dari faktor genetik yakni latar sosiohistoris pengarang menunjukkan bahwa Tohari adalah sastrawan Jawa yang hidup dalam keluarga santri yang religius dan akrab dengan alam pedesaan yang asri serta masyarakat pedesaan yang miskin, lugu, dan lemah. RDP lahir didorong oleh tiga hal yakni: (1) empatinya terhadap orang-orang kecil yang terpinggirkan, (2) kepeduliannya terhadap kesenian ronggeng, dan (3) kesantriannya untuk melakukan dakwah kultural. Adapun faktor afektif menunjukkan bahwa RDP merupakan karya sastra multidimensi yang kaya gagasan yakni: (1) dimensi kultural meliputi: kesenian ronggeng sebagai kebudayaan lokal yang berdimensi global; ronggeng sebagai duta budaya; ronggeng dan pengukuhan mitos; kearifan lokal (local genius) pada zaman global (intertekstualitas dengan ajaran Islam); (2) dimensi sosial: empati terhadap rakyat kecil yang terpinggirkan; (3) dimensi humanistik: pembunuhan mental sebagai tragedi kemanusiaan yang terabaikan; (4) dimensi moral: moralitas yang terpinggirkan oleh budaya; (5) dimensi jender: resistensi perempuan terhadap hegemoni kekuasaan laki-laki gaya ronggeng; (6) dimensi religiositas meliputi: reaktualisasi ajaran tasawuf wahdatusy syuhud dan dakwah kultural; (7) dimensi multikultural: Ronggeng Dukuh Paruk (RDP) sebagai sastra multikultural yang kaya makna. Secara holistik, ketiga faktor yakni objektif, genetik, dan afektif menunjukkan keterkaitan yang erat dan saling mendukung. Wujud performansi stilistika RDP memiliki daya ekspresi yang kuat sebagai media artikulasi gagasan multidimensi yang tidak terlepas dari latar sosiohistoris pengarangnya.
Berdasarkan hasil penelitian itu, disarankan: (1) kajian stilistika karya sastra dengan pendekatan kritik holistik akan mempermudah interpretasi maknanya, dan karena itu perlu dilakukan pada karya sastra lain; (2) kajian stilistika karya sastra yang selama ini terkesan milik kritikus sastra, selayaknya dilakukan pula oleh para linguis; (3) pentingnya pengamat sastra untuk melakukan kajian stilistika sastra dengan penerapan teori linguistik karena kajian stilistika memberikan kontribusi signifikan dalam mempermudah interpretasi makna sastra; (4) selayaknya novel Ronggeng Dukuh Paruk dijadikan bahan kajian dalam kuliah sastra di perguruan tinggi dan/ atau pembelajaran sastra di sekolah; (5) melihat fungsi dan urgensinya selayaknya Stilistika sebagai studi tentang gaya bahasa dijadikan sebagai mata kuliah wajib di perguruan tinggi jurusan sastra dan/ atau pendidikan bahasa dan sastra.












ABSTRACT

Ali Imron Al-Ma’ruf. T1122001. “A Study of Stylistics of the Trilogy Novel Entitled Ronggeng Dukuh Paruk, Written by Ahmad Tohari: A Perspective of Holistic Criticism.” Dissertation: Postgraduate Program, Sebelas Maret University, Surakarta, 2009. Promotor: Prof. Dr. H. Soediro Satoto and Co-Promotor: Prof. H. D. Edi Subroto.

The aims of this research are (1) to describe the stylistics of the novel entitled Ronggeng Dukuh Paruk (RDP), which include dictions, sentences, discourses, figurative languages, and images (objective factor); (2) to explain the socio-historical background of the writer as the creator (genetic factor) of RDP stylistics; and (3) to describe the meanings of the stylistics of RDP holistically in relation to the socio-historical background of the writer based on the readers’ responses (affective factor).
This research was a single-case study on the genetic stylistics, which studied the stylistics created by Ahmad Tohari in RDP. The research was also an embedded case study as the main focus of the research of RDP stylistics was determined from the beginning to guide its direction. It used a qualitative-descriptive method with a hermeneutic strategy in a perspective of holistic criticism. In accordance with the holistic criticism approach, data of the research consisted of three groups, namely: (1) the data of objective factor in the form of RDP stylistics which included dictions, sentences, discourses, figurative languages, and images; (2) the data of genetic factor in the form of socio-historical background of the writer; an (3) the data of affective factor in the form of readers’ responses towards RDP. The sources of the data were library and informants. The data were gathered through (1) listening and taking notes, (2) library research, (3) in-depth interview, and (4) focus group discussion techniques. They were then validated through data triangulation and theory triangulation techniques. Their credibility was checked through (1) informant review, (2) data-base making, and (3) arrangement of the research evidence chain. The data were analyzed by means of interactive model of analysis (Miles & Huberman, 1984) whose steps consisted of data reduction, data display, and conclusion drawing and data verification. Then, the meanings of the stylistics of RDP were revealed through semiotic model reading method that is heuristic and hermeneutic reading with semiotics, inter-text, and literary reception theory approaches.
The results of the research by the holistic criticism approach show that the objective factor (RDP stylistics) have uniqueness and specialty, which cannot be found in other literary works, and which prove Tohari’s competence in empowering language potentials. The uniqueness and specialty are found in the following: 1) the uniqueness and specialty dictions, which consist of connotative and concrete words, borrowing words, special addressing words, and proper names, exclamations, vulgar words, words with natural reality objects, and Java words; each kind of dictions has their own functions respectively in expressing ideas, and from the seven kinds of dictions, connotative words are the dominant ones. 2) the sentences have many variations from rhetorical sentence, structural adjustment, to language rule deviation. 3) the discourses have many variations from discourse style with rhetorical combination and code switching. 4) the figurative languages in RDP are very beautiful, and rich in variations; the language of RDP, therefore, becomes expressive, associative, and aesthetic. Of all figurative languages studied namely: figure of speech, idiomatic expression, and proverb the first is the most dominant. 5) the images created by Tohari is able to enliven as well as to arouse the readers’ reflection, intellectuality, and emotion. The images in RDP consist of seven kinds: a. visual image, b. auditory image, c. tactile image, d. smelling image, e. movement image, f. tasting image, and g. intellectual image; all of which are used by Tohari to create vitality, more expressiveness, and more impression to the readers. Of all images, the last one is the most dominant. The genetic factor, the socio-historical background of the writer, shows that Tohari is a Javanese literary author, who grew up in a religious Moslem family, was close to nature, and was familiar with poor, humble, and weak villagers. RDP was written due to three matters, namely: 1) his empathy towards poor people who were marginalized; 2) his concern towards ronggeng art; and 3) his virtuousness to do cultural propagation. The affective factor shows that RDP is a multidimensional work of art enriched by ideas of: (1) cultural dimension: ronggeng art as a local culture which has a global dimension, ronggeng as a cultural representative, ronggeng and myth affirmation, and local genius in global era (its intertextuality to Islamic doctrine); (2) social dimension: empathy towards marginalized poor people; (3) humanistic dimension: mental assassination: ignored humanity tragedy; (4) moral dimension: morality which is marginalized by tradition; (5) gender dimension: woman resistance towards man power hegemony in ronggeng style; (6) religiosity dimension: re-actualization of tasawuf teaching of wahdatusy syuhud dan cultural propagation; and (7) multicultural dimension: RDP as a multicultural literature which is rich in meanings. Holistically, the three factors: objective, genetic, and affective factors show a tight interrelation. The performing manifestation of RDP stylistics has a strong expressiveness as a medium to articulate ideas which cannot be separated from the writer’s socio-historical background.
Based on the results of the research, it is considered advisable that: (1) the study of stylistics of literary work with the holistic criticism approach needs to be done in other literary works as to ease the meaning interpretation; (2) the study of stylistics of literary work, which has been long recognized and done by critics of literary works, should also be done by linguists; (3) it is important for the literary observers to do some study of literary stylistics by applying using linguistic theories as they contribute significantly to easing the interpretation of the meanings of literary works; (4) the novel of RDP is practicable of being an object of study in a literary course/ lecture in universities and/ or literary study in schools; and (5) due to its function and urgency, the stylistics as a study about writing style should be made as a compulsory subject in universities at the Department of Literature and/or at the Department of Literature and Language Education.