ANALYSIS CLASS CONFLICT ON MOTHER BY MAXIM GORKY: A MARXISM APPROACH

ANALYSIS CLASS CONFLICT ON MOTHER BY MAXIM GORKY: A MARXISM APPROACH


CHAPTER I
INTRODUCTION

1.BACKGROUND STUDY

Mother was written at the end of 1906 and the beginning of 1907 when Gorky living in abroad. Part one was written in the United States, and part two in Italy. Mother give a broad and generalize of picture live in Russia and the event of Revolution of 1905. The narrative is based on event which took place in the town of Sormovo. It is one of Maxim Gorky’s best love novels. A story working class hero about a mother who secretly distributes forbidden literature, showing, truth and hope among the people of Russia
Gorky wrote in the Adirondack Mountains greater part of his classic novel, mother which appeared in 1906 – 1907. Its heroine pelagia Nilovna, adopt of the socialism in a religious spirit after her son’s arrest as a political activist. Pelageia’s husband is drunkard and her only consolation is her religious faith. Pelageia’s husband dies and her son’s Pavel change from a thug to socialist role model and start to bring his revolutionary friend to the house. Pavel is arrested on may day for carrying a forbidden banner. While continuing to believe in Christ’s Words, She join revolutionaries, and is betrayed by a police spy. Gorky based her character on real person, Anna Zolamova who had traveled the country distributing revolutionary pamphlet after her son had been arrested during a demonstration. The novel considered the pioneer socialist realism was letter dramatized by Berthold Brecht. The other literary works of Maxim Gorky are Creature that once were man, Mother, the man who was afraid, Twenty six and one and other stories.
Maxim Gorky’s the popular and influential Russian author, a founder a socialist realism. The greatest literary of the 20th century. He wrote stories, plays, memoirs and novels which touched the imagination of the Russian people, and was the first Russian author to write sympathetically of such characters as tramps, thieves, emphasizing their daily struggle against overwhelming odds.
Maxim Gorky was born with the name Alexei Maksimovich Peshkov on March 28th 1866 in Nizniy Novgorod. His parent died when he was child and than he was taken care by his Grandmother who like reading literature and pay attention to the poor much. Gorky died suddenly pneumonia in his country home, dacha near Moscow on June, 18 1936. In some sources the cause of death was said to be heart disease. Maxim Gorky’s Russian short story writer, novelist, autobiographer, and essayist, whose live deeply interwoven with the tumultuous revolutionary period of his country. Gorky ended his long career as the preeminent spokesman for culture under the Soviet Regime of Joseph Stalin. Gorky’s formulated the central principles of Socialist Realism which became doctrine in Soviet literature. One of literary work of Maxim Gorky’s is Mother. The novel was first published in English translation in “ Appleton Magazine” (New York) in 1906 – 1907, and in April 1907 which 307 pages. Its consist two parts. Each part consists of 29 chapters.
Already in 1907- 1908 the novel appeared in the United States, England, France, Germany, Italy, Spain, Turkey, Sweden, Albania, Denmark, Czechoslovakia and many other countries.
In Russia, the publication Mother coincide with the beginning of the Stolylipin reaction, a reign of terror that lasted for many years. Actually, Mother was forbidden book. The revolutionary readers could not express their opinion of it publicly. The reactionary critics attacked the book for its alleged lack of artistic merits. Bourgeois critic declared that “Gorky was finished” after reading only half of the first part the novel which appeared in two issues of “ Znanie” what had caused his “fall”, and his “crime” in their opinion was that he had begun to disseminate Marxism in artistic images and to speak out about revolutionary proletariat and the awakening peasantry as forces that promised to achieved a complete of liberation of Russia. Mother has been translated into every language and being continually re-printed everywhere. As soon as the great October Socialist Revolution lifted the censorship ban from Mother. The interesting side about this novel is this novel discusses the revolution whose main character is old woman, and her name is Pelagia Nilovna
Pelagia Nilovna old mother who most of her life only knows the pain, insults, and beatings from her husband. Energy has been sucked out by the factory every morning and evening live sound bitter howls from the chimney, a large chimney and black.
When the movement of the workers began to touch town "Mother". Pelagia so called "there was a change in him which was pioneered by her own son is Vaslov Pavel. Fear, which first appeared when the mother began to meet with the underground organization. His views are conservative, and his very devotional the church made of anxiety of what is happening inside Pavel.
Because the house used as a base camp's mother would not even want to touch any time with the underground movement.
That awareness of the truth of the doctrine that she often heard growing up was not because the mother to understand the teachings of the socialist who spread by Pavel. Nor was it because the mother hated the entrepreneurs who have sucked all the energy of life, but rather for love of a mother to a child who led her into the new world. Mother wants to always accompany Pavel gestures though he himself felt so strange. And, for love is therefore causing mother dared to take part by distributing the newspapers and books banned for Pavel enter jailed after labor demonstrations on 1 May .
“Starting from love and grow into the consciousness" of the sentence may be appropriate to describe the changes in continuous self-Mother. Mother further understand the teachings of the socialist, and began releasing his views are conservative. But there is one dimension that is never lost in the mother, trust in Christ who so idealize love.
For the Mother of Christ as if he realized that without love · love that it's hard to be described, summarizing the love of fear and hope, sadness and grief "has become closer to him and feels he is different from the first"
Her love as a mother not only given to Pavel, but to all people. Even in people who have been to suppress it. Mother is no longer limited to viewers in the struggle. He engaged seriously his role as flyers and newspaper delivery socialists. Not only carry its superiority, but the simplicity of the way he thought had made the "Muzjick" in the hamlet Nikolskoje becoming interested in the teachings of socialism. There, the mother of discussions about social class, debate the social function of property rights, the role of families in the struggle.
Her love of Pavel and she belief in the socialist doctrine tested when the mother who was carrying a large bag containing leaflets meet with a spy. Mother in doubt: whether she should leave the bag and ran away or was determined to maintain the bag is very important for the movement. Mother was terrified. However, every time he wants to run, the shadows Pavel came before her. She does not want to betray the child and struggles. And, very brave decision that must pay dearly in her own life. Considering all about the explanation above, the writer interested analyzing the conflict on Maxim Gorky’s Mother with entitled: “ANALYSIS CLASS CONFLICT ON MOTHER BY MAXIM GORKY: A MARXISM APPROACH “.


2.Literature Review.

As long as the writer knows, there is no review research that conduct to study Maxim Gorky’s Mother. At least 17 Augustus 1945 University of Surabaya. So this study is the first study. Further in this study, the writer studies Maxim Gorky’s Mother based on the Marxist approach.

3.Problem Statement.

Based on the research background above, the problem of this study is how the struggle against the State’s oppression is reflected in Maxim Gorky’s Mother.

4.Limitation of the Study.

To make it easy to the writer to conduct study, she give limitation of the problem on the major character on Pelagia Nilovna Vlasov (Mother) attempt in the struggle for freedom viewed from the Marxist approach.


5.Objective of the Study.

The objective of the study are as follows:
1.How to structure, theme, setting, plot, and point of view the novel's mother?
2.How social background in Russia?
3.How views of class conflict on the theory of Marxism?

5.Benefit of the Study.

By presenting this research, the writer hope that there will be some benefits as follows:
1.Theoretical benefits
This study is purposed to give additional information literature research especially those dealing with Maxim Gorky’s Mother
2.Practical Benefits.
This study can develop the writer’s skill and ability in applying the Marxist approach in Maxim Gorky’s Mother.


6.Research Method.

Dealing with the research method, there will be at least four points that need to be involved in this research.
1.Object of the study.
The object of the study is the novel Maxim Gorky’s Mother in 1907, analyzed using structural analysis and Marxist approach.
2.Data Sources.
The study will be use library research whose data are taken from:
a.Primary Data Sources.
Primary data sources are the main data consisting dialogue action description above the character about of the novel.
b. Secondary Data Sources.
Secondary data sources are some material related to the data requires, such as writer biography, the data taken from official website and other related sources.
7.Technique Of Data Analysis.
The technique of data analysis in this study is descriptive.


8.Organization Of The Study

In order to make the research easier to follow this research paper is organized into six chapters. Chapter I is introduction which explain background of the study, literature review, problem statement, objective oh the study, benefit of the study, research method and research paper organization. Chapter II is underlying theory that consists of nation of Marxism, the principles of Marxism, structural element, and theoretical application. Chapter III includes the social background of the Russia. Chapter IV will cover the structural analysis of the novel by describing character and characterization, setting, plot, point of view, and theme and brief discussion. Chapter V is Marxist analysis dealing with the problem in the novel. Chapter VI contains conclusion and suggestion.

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Demokrasi facebook demokrasi maya

Demokrasi facebook demokrasi maya
Fenomena buaya dan cicak
Gerakan 1.000.000 Facebooker Dukung Bibit S Riyanto dan Chandra Hamzah


Tepat kamis 29 Oktober 2009 akhirnya cicak dicaplok buaya. Dua mantan pimpinan nonaktif resmi ditangkap pihak kepolisian, dengan alasan bahwa mereka meresahkan dengan sering memberikan konfrensi-konfrensi pers kepada media. Terlepas mana yang salah dan mana yang benar. Penangkapan dua pimpinan nonaktif KPK ini menuai reaksi yang cepat seperti gunung es.
Penangkapan Bibit Samad Riyanto dan Chandra Hamzah, pada akhirnya direaksi public dengan kecaman. Terlebih para facebooker dan komunitas dunia maya lainnya. Fenomena ini rupanya menggerakan hati nurani masyarakat dan menyadarkan bahwa arogansi kepolisian bukan tidak mungkin akan terjadi pada Bibit dan Chandra saja. Bisa cicak-cicak yang lain akan dicaplok atau ditangkap karena telah dianggap menggangu ketentraman dalam bahasa pihak kepolisian. Tentunya ini mengingatkan kita pada masa orde baru, orang begitu gampang ditangkap karena dituduh menggangu ketertiban dalam bahasa dan kehendak penguasa atau pihak keamanan
Adalah Usman Yasin dosen dari Universitas Muhammadiyah Bengkulu. Berinisiatif memberikan dukungan dengan mengajak para facebooker untuk bersatu dan memberikan suara penolakan atas penangkapan Bibit Samad Riyanto dan Chandra Hamzah pimpinan nonaktik KPK yang ditangkap. Dengan membuat grup akun Gerakan 1.000.000 Dukung Chandra Hamzah dan Bibit Samad Riyanto di situs jejaring sosial Fcebook, yang memang lagi booming dan ngetrend di semua golongan baik muda dan tua, pejabat public sampai mahasiswa.
Dalam 2 jam, jumlah anggota grup 1 Juta Facebookers Dukung Chandra dan Bibit naik hampir 1.000 orang (Detik.com). lalu setelah 48 jam anggota Gerakn itu sudah melonjak lagi pada kisaran 72 ribu orang. Dari laporan tempi interaktif memberitakan dukungan terhadap Bibit dan Chandra sudah mencapai 145 ribu orang. Dan perkembangan jumlah ini tentunya terus berakumulatif terus sampai pada angka 1.000.000 orang. Sebelunya seperti yang dipaparkan oleh pembuatnya Usman Yasin bahwa grup Gerakan 1.000.000 dukung Bibit S Riyanto dan Chandra Hamzah akan berhenti pada angka 1 juta.
Pada dinding Gerakan 1.000.000 Dukung Bibit S Riyanto dan Chandra Hamzah, juga banyak ditemui dukungan lewat wall aau dinding seperti “"Saya cicak juga. Saya ingin bersatu dengan semua cicak melawan si boyo (buaya)," demikian tulis salah seorang anggota, Rita D Suradja, dalam wall ”. semua anggota grup bebas menyuarakan dan menyerukan dukungan serta hujatan pada pihak kepolisian yang dalam hal ini sebagai penangkap dan mencoba mengkriminalisasi dua pimpinan KPK itu.
Selain situs jejaring facebook ditemui juga situs-situs serupa seperti twitter dengan kata kunci #dukungkpk# yang banyak bermunculan posting atau komen di dinding twitter yang menyatakan dukungan dan hujatan terhadap arogansi kepolisian. Tak lupa para blogger juga ikut meramaikan dengan ramai-ramai membuat tulisan dan memposting pada blog-nya dukungan serta inforasi tentang perkembangan kasus yang menimpa Bibit S Riyanto dan Chandra Hamzah. Cara lain yang ditunjukan atas dukungan terhadap dua pimpinan KPK ini datang dari para tokoh nasional yang menyatakan siap menjadi jaminan atas Bibit S Riyanto dan Chandra Hamzah ini.
Beberapa kesimpulan factor yang mendorong melonjaknya anggota grup “ Gerakan 1.000.000 Facebooker Dukung Bibit S Riyanto dan Chandra Hamzah dari laporan media dan komentar grup serta sedikit uraian ringkasan antara lain adalah;
• KPK dianggap telah berperan besar terhadap pembongkaran kasus-kasus korupsi baik yang melibatkan para pejabat maupun para pegusaha.
• fakta membuktikan Bahwa Institusi Polri dan Kejaksaan Agung telah gagal mewujudkan cita-cita negara kita yang bebas dari Korupsi dan Kolusi.
• Terlepas mana yang salah dan benar rakyat sudah lelah melihat arogansi kepolisian. Mengingatkan pada jaman orde baru yang ska main tangkap.
• Para tokoh nasional yang turun tangan untuk menjamin dirinya atas penangguhan penahanan Bibit dan Chandra.
• Korupsi sudah menjadi budaya dalam negeri yang sulit sehingga harapan satu-satunya       dibebankan di KPK.
• Solidaritas di facebook hanyalah sekedar solidaritas opini dan wacana

Selengkapnya...

SAJAK MORAL BLA-BLA-BLA….

Moral blab bla bla….
Amoral blab bla bla….
Dekadensi moral blab bla bla….

Pidato soal moral
Khotbah tentang moral
Semua orang katanya butuh moral
Dan penyelesaiannya adalah moral

Seketika aku melihat
Ibu gelandangan dengan wajah kusut
Dengan dekil anaknya di pinggir jalan
Amboi ..Tentunya bukan moral yang mereka makan

Karena moral adalah cita – cita
Karena moral itu norma-norma
Karena moral seperti produk kemasan
Dan moral bukan penyelesaian….

Amboi… moralmu ya moralmu
Amboi… moralku ya moralku

Bagi saudagar moral itu untung
Bagi gelandangan moral ya nasi bungkus
Bagi tukang becak moral itu penumpang
Bagi mahasiswa moral itu intelektualitas
Bagi pejabat moral itu kuasa, wanita dan uang

Lalu kenapa kalian mempersoalkan moral?
Sudahkah anda bermoral hari ini?
Dan apa jawabnya, TIDAK

Surabaya, 16 November 2009.
11: 36 AM Selengkapnya...

Soe Hok Gie: Alam, buku, demonstrasi, dan film

Soe Hok ie lahir di Jakarta 17 Desember 1942 sebagai putra keempat dari keluarga Soe Lie Piet. Lingkunga keuarga yang tinggal di pemukiman padat di kawasan Kebun Jeruk/Sawah Besar Jakarta Pusat ini akrab dengan Lieteratur. Ayahnya Soe Lie Piet alias Salim Sutrawan adalah seorang wartawan dan penulis.

Dari segi ekonomi, mereka memang serba sederhana, tetapi tidak dalam penjelajahan intelektual. Soe Hok Gie dan kakaknya Soe Hok Djien (Arief Budiman) sudah akrab dengan akrab dengan bacaan sastra dan filsafat sejak duduk dibangku menengah. Soe Hok Gie menjadi mahasiswa Jurusan Sejarah Fakltas Sastra. Skripsinya “orang-orang di persimpangan kiri jalan” kemudian dibukukan. Sedangkan kakaknya Soe Hok Djien alias Arief Budiman Intelektual (Sosialis) kiri terkemuka mengambil jurusan Psikologi. Meskipun memasuki Psikologi Arief Budiman mengambil judul skripsi yang masih berbau sastra yang kemudian dibukukan dengan judul “pertemuan antara Chairil Anwar dan Arief Budiman” yang menanalisis puisi dan sajak-sajak Chairil Anwar.

Pergulatan Mahasiswa

Soe Hok ie dikenal sebaai seorang aktivis mahasiswa yang gigih, yang mengobarkan semangat, pemikirannya, dan sikap-sikapnya melalui tulisan, mimbar diskusi, rapat senat mahasiswa dan berdiri di barisan paling depan aksi-aksi demonstrasi menetang pemerintahan Soekarno, yang ia anggap korup dan tidak memperhatikan rakyatnya. Tulisan-tulisan yang mencakup seputar permaslahan kemanusiaan, hak-hak asasi manusia, kebangsaan, moral keadilan, hokum dan gerakan mahasiswa tersebar diberbagai media, terutama Indonesia Raya, Sinar Harapan, Kompas dan banyak lainnya.

Sebagai mahasiswa Soe Hok Gie menjadi ketua senat mahasiswa Fakultas Sastra dan menjadi salah satu pendiri Mapala UI dan Grup Diskusi UI (GD-UI). Ia pun aktif di gerakan Mahasiswa Sosialis (GMSOS) diakhir 1965 dan di awal 1966. Soe Hok Gie melihat dan menilai kepemimpinan Soekarno sudah tidak mampumembawa rakyat sejahtera secara ekonomi., seperti diketahui orde lama dibawah kepemimpinan Soekarno sudah tidak mampu ditanggung rakyat. Namun Soe Hok Gie diketahui secara terbuka mendukung jenderal-jenderal TNI-AD dengan harapan bahwa mereka mampu membawa Indonesia kepada suatu masyarakat yang adil dan sederajat. Ia malah dikabarkan menjadi salah satu tokoh kunci terjadinya aliansi Mahasiswa-ABRI pada tahun 1966. Tai menjelang akhir tahun 1969, semakin jelas baginya bahwa ia telah salah menaruh kepercayaan. Ia melihat kekuasaan militer menjadi fasistis dan otoriter. Ini bisa dilihat dari kumpulan tulisan-tulisan tentang krtitik terhadap pemerintahan yang baru (orde baru dibawah Soeharto) yag kemudiaan dibukukan dengan judul “jaman peralihan”.

Ia mengkritik KAMI (Kesatuan Aksi Mahasiswa Indonesia) yang menjadi klik vested interest pemerintahan orde baru. Tetang teman-temannya yang menerima tawaran kursi parlemen dan bhkan berebut mendapatkan kredit mobil, ia menyebut sebagai pemimpin yang mencatut perjuangan. ” umurnya rata-rata 30 tahun dan telah berkali-kali tak naik kelas karena jarang kuliah. Mereka bukan lai mahasiswa yag berpolitik, tetapi politisi yang mempunyai kartu mahasiswa” kritik Gie terhadap teman-temannya.

Lahirnya Gie tidak kemudian menggendurkan semangat perlawanan terhadap penindasan. Di tahun 1969, ia mengomentari rejim orde baru: “ tahun ini adalah tahun pertama pembangunan lima tahun. Sampai saat ini, kesan saya adalah bahwa rakyat Indonesia acuh tak acuh terhadap rencana besar ini. Hampir tak ada komunikasi yang dimengerti masyarakat umum, dan pemerintah yang terlalu pragmatis sekarang pada akhirnya gagal menimbulkan gairah dan sokongan kerja rakyat”.

Di tahun yang sama, ia pun telah mempersoalkan kontinuitas peran teknokrat dalam hegemoni militer negra orde baru. Sedangkan tentang hukum di tahun 1970 ia menulis “ mahasiswa hukum akhirnya bahwa ada pula hukum-hukum yang tak tertulis yang lebih superior daripada yang telah tertulis. Mereka perlukoneksi dengan orang-orang penting, dengan tentara, polisi yang dapat menanggulangi hukum. Dan akhirnya mereka harus memendam kenyataan yang pahit itu diam-diam.”

Ia memang seorang penggerak kekuatan moral, humanis sejati dan idealis yang bergairah. Tapi mempertahankan idealis ternyata bukan pekerjaan yang ringan, dan itu dirasakan sendiri, ini bisa dilihat dalam catatan hariannya yang akhirnya diterbitkan menjadi buku “catatan seorang demonstran” seperti pada kutipannya berikut ini “ di Indonesia hanya ada dua pilihan. Menjadi idealis atau apatis. Saya sudah lama menjadi idealis, sampai batas-batas sejauh-jauhnya”

Buku dan tulisannya

Soe Hok Gie menulis skripsi sarjana mudanya mengenai Sarekat Islam Semarang yang kemudian dibukukan dengan judul Di Bawah Lentera Merah (Bentang Budaya 1999). Skripsi sarjananya 9ia lulus Mei 1969) adalah tentang pemberontak PKI Moeso di Madiun tahun 1948 yang juga diterbitkan dengan judul “orang-orang dipersimpangan jalan (Bentang Budaya 1997)”.

Akhir Perjalanan Seorang Pejuang Sejati

Pada 15 Desember 1969, Gie bersama kawan-kawanya Herman Lantang, Abdul Rachman, Idhan Lubis, Aristides Katoppo, Rudi Badil, Fredy Lasut, Anton Wiyana berangkat menuju puncak Semeru melalui kawasan Tengger. Soe Ho Gie ingin bisa merayakan ulang tahunnya yang ke 27 di atap tertinggi Pulau Jawa tersebut. tanggal 16 Desember di tengah angin kencang di ketinggian 3.676 meter di atas permukaan laut, Soe Hok Gie Idhan, Rahman terserang gas beracun. Gie dan Idhan berada dalam posisi yang tidak menguntungkan dan nyawa mereka tidak tertolong.

Cita-cita Gie untuk mati muda di tengah alam betul-betul kesampaian. Dan tampaknya cocok dengan ungkapan dari puisi yang suka dikutipnya: “ Nasib terbaik adalah tidak pernah dilahirkan, yang kedua dilahirkan tapi muda muda, dan yang tersial adalah umur tua. Bahagialah mereka yang mati muda”.

Soe Hok Gie dimakamkan di Menteng Pulo kemudian dipindah di jaman Belanda di Tanah Abang. Di nisannya marmernya dituliskan kata-kata dari lagu favoritnya “ Nobody knows the trouble I see. Nobody knows my sorrow”. Tahun 1975, sisa jasad Soe Hok Gie digali kembali dan dikremasikan. Abunya kemudian ditaburkan oleh sahabat-sahabatnya di lembah Mandala Wangi, dekat puncak Pangrango, tempat yang acapkali dikunjungi Gie manakali ia butuh kedamaian dan kesendirian.

Berita kematian Soe Hok Gie menyebar hingga keluar Indonesia. Pada bulan April, Benedict Anderson menulis ungkapan rasa hormat dan kagumnya pada sahabatnya semasa masih kuliah di Cornell Uneversity (Gie pernah tiga bulan berkelana di AS tahun 1968) dalam artikelnya yang menggugah perasaan berjudul Indonesia esai Ben Anderson kemudian dipublikasikan oleh harian Kompas, 4 Mei 1970. Anderson memuji Soe Hok Gie karena dialah yang pertama kali melontarkan tentang adanya penahanan dan pembantaian besar-besaran di pelosok Jawa dn Bali tanpa proses peradilan yang pernah dilakukan oleh rejim orde baru. Ketika itu, simpati yang dia perlihatkan secara terbuka, termasuk simpatinnya kepada keluarga PKI yang mengalami dehumanisasi, bukanlah tanpa resiko.

Seperti diketahui sebelumnya Ben Anderson adalah sahabat Gie ketika di Cornell University. Ben Anderson sendiri adalah seorang Indonesianis dari Amerika yang konsen terhadap permasalahan di Indonesia terutama sejarah dan praktik-praktik pelanggaran HAM yang dilakukan ole horde baru. Sehingga pada masa orde baru Ben Anderson mendapat pencekalan dari orde baru untuk memasuki Indonesia karena tulisan-tulisannya yang tajam mengkritisi pelaksanaan pemerintahan orde baru yang sangat timpang, militeristik dan otoriter terhadap rakyatnya

Film dan Catatan Hariannya

Buku dibawah Lentera Merah dan orang di persimpangan jalan yang pernah diterbitkan pernah mendapat pencekalan dari rejim pemerintah orde baru karena memuat sejarah awal berdirinya PKI dan pemberontakan Madiun Affair 1948. Namun sejak gejolak reformasi akhir 1997 dan 1998 buku ini kembali diterbitkn dengan leluasa tanpa takut-takut lagi. Ini kemudian disusul dengan cetak ulang buku tentang catatan seorang demonstran yang sebelumnya pernah diterbitkan oleh LP3ES bersama catatan hariannya Ahmad Wahib seorang aktivis muda HMI yang selalu gelisah seperti Gie yang juga mati di usia muda dengan judul “pergolakan pemikiran Islam. Catatan harian Ahmad Wahib”.

Oleh Miles Production dibawah arahan Sutrdara Riri Riza, akhirnya buku Catatan Seorang Demonstran (CSD) Soe Hok Gie difilmkan dengan judul Gie. Sambutan luar biasa di awal perdana tayangnya begitu antusias terlebih dari kalangan anak muda. Film yang dibintangi oleh Nicholas Saputra ini akhirnya menjadi booming dan menjadikan sosok Gie sebagai seorang ikon baru. Anak muda atau mahasiswa yang dulunya tidak tahu dan kenal siap itu Gie akhirnya mejadi tahu dan menjadikannya sebagai sosok idola kaum muda yang idealis.

Walaupun mendapat sambutan luar biasa .Film yang berdurasi 147 menit itu bukan tanpa celah. Mulai dari setting film dan alur cerita banyak yang membingungkan dan kontra produktif. Hal itu juga diakui oleh sang sutradara Riri Riza yang mengaku bahwa dalam membuat film sejarah Gie itu tidak melakukan sebuah penelitian tentang sosok Gie itu secara detail. Namun film Gie itu sendiri didasarkan pada catatan hariannya dan wawancara lansung dengan sang kakak Arief Budiman. Kekhawatiran juga di alami oleh Riri Riza akan pencekalan terhadap film Gie karena dalam adegan tersebut menampilkan lagu gendjer-gendjer. Lagu yang khas dengan PKI itu merupakan lagu yang dilarang semasa orde baru dan menjadi lagu tabu di masyarakat.

Beberapa kontroversi film Gie

Alur yang digunakan dalam film Gie menggunakan alur maju. Ini ditunjukan dengan perubahan usia Gie mulai dari SMP, SMA dan memasuki bangku perkuliahan serta pergulatan dengan dunianya. Gie ditampilkan sebagai sosok yang cerdas, berani dalam mengmbil sikap serta kritis dengan dengan tulisan-tulisannya. Gie digambarkan sebagai seorang demonstran ulung getol membela rakyat. Dalam adegan demonstrasi dengan latar belakang UI sebagai kampus Gie dan jalanan di tahun 1965-66. Gie terdepan dalam aksi-aksi itu terdengar teriakan tuntutan-tuntutan terhadap Soekarno atau hidup rakyat dan mahasiswa. Perlu diketahui bahwa teriakan Hidup Mahasiswa dan Hidup Rakyat pertama kali diteriakan pada Reformasi 1998 tentunya di tahun 1965 belum ada teriakan itu. dalam catatan hariannya juga Gie menuliskan tentang pengembaraannya ke Amerika Serikat dan Australia untuk study banding di Cornell University selama tiga bulan namun dalam film tersebut, Gie tidak pernah ditampilakan berada di luar negeri. Tentunya bisa dimengerti dan dimaklumi. pengambilan gambar itu akan memakan banyak waktu dan biaya yang besar.

Banyaknya kejanggalan-kejangalan dalam film ini menuai kritikan dari para sineas dan pemerhati Film dan tentunya para penggemar Gie. Namun itu tidak terlalu mengecewakan karena film Gie mampu menembus film-film yang didominasi oleh cerita-cerita kehidupan anak remaja sekarang atau tema-tema pop. Jelas tidak gampang membuat film sejarah seperti Gie apalagi sang tokoh atau sosoknya sendiri yang sangat controversial.

Dan semoga melalui film ini, para anak-anak muda akan sadar dan tahu bahwa setiap perubahan jaman, anak muda atau mahasiswa selalu barisan terdepan mulai dari jaman kemerdekaan melawan kolonialisme dan kemerdekaan sampai pada setiap perubahan dari transisi era orde lama ke orde baru hingga masa transisi reformasi yang telah mmenggulingkan pemerintah otoritarian Soeharto. Meminjam puisi dari Widji Tukul, jika aspirasi dilarang dan suara-suara keadilan dibungkam. Cuma ada satu kata LAWAN.

Nb: tulisan ini pernah dimuat di bulletin Opzitsii KAMUS PR edisi Maret – Mei 2006. Dan telah mengalami revisi dari penulis.

Selengkapnya...

BALLADA LELAKI YANG LUKA
WS. Rendra

Lelaki yang luka
Biarkan ia pergi, mama
Akan disatukan dirinya
Dengan angin gunung.
Sempoyongan tubuh kerbau
Menyobek perut yang sepi
Dan wajah para bunda
Bagai bulan redup putih

Ajal! Ajal !
Betapa pulasnya tidurnya
Direlung pengap dalam !
Siapa akan diserunya?
Siapa leluhurnya?
Lelaki yang luka
Melekat di punggung kuda

Tiada sumur bagi lukanya.
Tiada dalam bagai pedihnya.
Dan asap belerang
Menyapu kedua mata.
Betapa dikenalnya bulan?
Betapa kan bisa menyusu dari awan?
Lelaki yang luka
Tiada tahu kata dan bunga.

Pergilah lelaki yang luka
Tiada berarah, anak dari angin
Tiada tahu siapa dirinya
Didaki semua gunung tua
Siapa kan beri akhir padanya?
Menapak kaki-kaki kuda
Menapak atas dada-dada bunda.

Lelaki yang luka
Biarkan ia pergi mama!
Meratap di tempat-tempat sepi.
Dan di dada:
Betapa parahnya








BALLAD OF THE WOUNDED MAN
WS Rendra

There’s this wounded man:
Let him go, mama
He’ll tie himself
To the mountain wind
A tottering buffalo rips open
Silence
All the mothers
Turn pale as a half-hidden moon

It was fate ! Fate !,
Snoring soundly,
Choking inside itself!
Who should he shout at
Who were his father’s father’s?
A wounded man
Clutching an unsaddle horse.

No well is reamed lke his wound
No pain reaches as deep.
The reek of sulphur
Beats at his eyes.
How will he know the moon?
How can he drink from clouds?
A wounded man
Knows nothing of words, know nothing of flowers.

Go, wounded man, go
Nowhere, son of the wind.
Who is he? He doesn’t know,
Climbing old mountain.
Who will end it for him?
His horse’s hooves pound
At mother’s breasts

There’s the wounded man:
Let him go mama!
Moaning in lonely place.
And in his heart:
How bitter, how broken. Selengkapnya...

CHARACTER LULA and CLAY ON DUTCHMAN PLAY
by: Amir Baehaqi
Faculty Of Letters.
Untag Surabaya Univesity


I. Introduction

Character is one of the parts of story beside theme, setting and plot. But reading a Character is more difficult than reading a plot, because it is more complex, variable and ambiguous. Anyone can repeat what person had done I a story, but to describe what she is like, is needed some skills. In The Dutchman Clay and Lula are main Characters
The victim in Dutchman is Clay, and this is a play about hatred. But why Lula violently kills Clay with wild and raw ob! literation, ending this carefully. In his analysis writer will describe each characters, the main point between Clay and Lula. Beside Clay and Lula, there is other Character as the Young Negro and the Conductor. The Conductor is quick soft shoe shuffle before exiting the rail car is symbolic of the way blacks expressed than the young Negro is the other passengers throw Clay’s dead body off of the train. Like Clay, he carries some books, indicative of his intellectual ambitions.


II. Review of the related Literature
This is very important feature of the narrative form of literature compared with the creation of people who give a sense of live qualities and possibilities. Involves inconsistency character is a poorone. If some character suddenly change his way of acting for no apparent or convicing reason, just to give the tale a happy ending, we have that the fault of characterisation which is known as having people act. Not merely presenting us with two unconected states of mind, unles there is some special point in doing so.

One extreme of the dramatic methode is the modern device of the interior monologue, or stream of conciuousnes tecnique. The flow of imppression and thoughts passing trough some character’s mind from moment to moment. But characters summed up tend to seem a little lifeless. Much interest is created when character have different ideas about another character, or false ideas about themselves.
Conflict contrast and missunderstanding are but a few obvious relationship beetween character. Type characterisations is the simplification of character down to one or character qualities. It can be entertaining even though is not realistic. Type characterization is to be found in the morality play, in which the characters represent qualities.
No simple scheme can do justice to all the possibilities of characterisation, but considering of the foolowing points should help the student make a sound beginning.
1. Basic Characteristic
1) Physical (age, phsycal, oddities,etc).
2) Social relationship(personal relationship with other character in the work; wider social relationship such as social class, occupation).
3) Mental qualities (type ways of thinking, feeling and acting).
2. Appearance from various point of view.
1) How to character sees himself.
2) How variousother characters see him.
3) How develops, or fails to develop, during the course of the story.
3. Place in work.
1) Treatment by the author. (Sketched of fully sounded?porrayed descriptively or dramatically? Treated sympathecally or unsympathecally?).
2) Place in the story. ( A leading character or a minor one? A fed?).
3) Relationship to the theme. Does the character exsemplify or embody something important that the author has to say?. Use these mine points as a framework for the following exercises.



III. ANALYSIS
3.1. CHARACTERS

Clay:

Clay is a twenty-year-old black man, or, a Negro man. The distinction is that a Negro, according to the playwright’s nominative system, is one who compromises his own identity in order to maintain a peaceful relationship with his white oppressors. Clay is a typical bourgeois black male, so predictably bourgeois that Lula is able to tell his life history by the evidence of his dress, his demeanor, and his style of speech (middle class, intellectual, full of pretensions).
Clay is at first attracted to the sexy, young woman who begins a taunting seduction of him and invites herself along to his friend’s party. But her sudden mood swings and unexpectedly violent racist language shock him. Even so, he maddeningly humiliates himself in his attempts to maintain his composure at all costs and to match her violence with intellectual dexterity. For some reason he is intrigued by her, as though she is some kind of social test he desperately wants not to fail. But the sordid truth is that it is his very anxiety to prove himself worthy to her (white cultural) values that causes him to fail this test. For Clay, who dreamed in college of being a black Baudelaire (a famous French poet), is a member of the black bourgeoisie (upwardly mobile middle class), a white wannabe.
Clay recognizes the compromises he has made, yet shirks from committing the murder of whites that would absolve him of compromise. He takes refuge in the fortress of his words. He warns Lula, however, that the cultural conditioning of blacks could backfire, since they soon may be able to rationalize their murders as whites do. Lula’s symbolic murder of him serves to quiet him, but it is also merely an extreme version of the social murder he submits to in prostituting his manhood by conforming to white values.

Lula:

The Caucasian Lula is a thirty-year-old femme fatale who alternately seduces and insults Clay. She is a mythical apple-offering Eve to his clumsy and naive Adam. Lula is the embodiment of western civilization, seductive and ferociously greedy, relentless, but also psychotic, lonely, trapped by her own cultural identity. There is never a sense, as there is with Clay, that a real beating heart lies behind her cultural armor. Instead, she is the mythical all-devouring female, mindlessly dispatching with

Conductor:

The old conductor is the stereotypical, black character (characters who would often dance and sing to delight whites) who seems content with his lowly station in relation to whites. His quick soft shoe shuffle before exiting the rail car is symbolic of the way blacks expressed their suppressed freedom through artistic forms such as dance, music, and song. Clay. But the reality is that, at the play’s close, the conductor is alive while Clay is dead. Clay’s manhood (and later his dead body) so that she can attend to her next victim. She is programmed to destroy, she simply follows the path, placing her feet “one in front of the other.”
This process of oppression bores Lula, and she occasionally lapses into a daze and makes morbid comments on her fantasized seduction (“You’ll call my rooms black as a grave. You’ll say, ‘This place is like Juliet’s tomb’”). She lets loose strings of racist insults when Clay fails to succumb to her seduction and “rub bellies” with her in a crazy erotic dance. She cannot abide the brutal honesty of Clay’s final speech, in which he is finally truthful about his fate and his reluctance to change it. But her irritation only reminds her of her duty, to dispatch with this victim and move on to the next.

Young Negro:

Ostensibly Lula’s subsequent victim. The young black man of about twenty boards right after Lula and the other passengers throw Clay’s dead body off of the train. Like Clay, he carries some books, indicative of his intellectual ambitions. Like Clay, too, Lula entices him with her gaze, and her mythical, ritual cycle of racial hostility begins anew.



IV. CONCLUSION
In the Dutchman there are two main Characters Clay and Lula. Clay and Lula is still a dramatist. Dutchman is about the difficulty of becoming a man in America.” The boy who is desperately trying to become a man” is Clay, twenty-year-old Negro. Lula, beautiful young white woman on the make, sits next to Clay on the subway. In brilliant dialogue Clay’s lack of place is revealed to the audience. He does not belong, for he does not acknowledge his blackness. Clay is a typical bourgeois black male, so predictably bourgeois that Lula is able to tell his life history by the evidence of his dress, his demeanor, intellectual ambition, and his style of speech
Lula has him pegged: “You’re a well-known type,” and “I know you like the palm of my hand.” He is a suburbanite, living in New Jersey with his parents; in college he thought of himself as Baudelaire. Never did he think of himself as a black nigger. He is a poser, not a man; he does not acknowledge what he is. Lula takes hold of his jacket and shouts: “Boy, those narrow-shoulder clothes come from a tradition you ought to feel oppressed by. A three-button suit and striped tie? Your grandfather was a slave, he didn’t go to Harvard.” Lula’s symbolic murder of him serves to quiet him, but it is also merely an extreme version of the social murder he submits to in prostituting his manhood by conforming to white values. She is a mythical apple-offering Eve to his clumsy and naive Adam. Lula is the embodiment of western civilization, seductive and ferociously greedy, relentless, but also psychotic, lonely, trapped by her own cultural identity. Selengkapnya...

PEMBERITAHUAN

Diberitahukan.
Kepada mahasiswa yang bernama:………
Segera menemui:………………
Pukul satu siang waktu Surabaya setempat.

Tempat:
Kantor Dekan Fakultas Sastra. Jln Semolowaru 45

Secuil bukti kami temui
Dari kesalahan yang dinanti
Terserah, anda datang atau pergi
Segerombol anjing coklat siap mencari

Kampus ini terbuat dari semen
Bukan dari uang kertas permen
Bukan juga dari hasil ngamen
Jika anda tidak bayar
Maka akan kami kejar
Meski kami tahu, anda sedang belajar

Vladimir Baihanovsky
19/10/09 Selengkapnya...

SAJAK FATWA

Bocah kecil di perempatan
Dekil hitam membawa koran
Persetan terik, sesuap nasi
Tak paham nasib ada di jalan

Terlihat lampu menyala merah
Pertanda sedih memendam marah
Kerna koran tak berubah
Menggantung rezeki pada oplah

Bocah kecil di jalan raya
Melihat sedan orang kaya
Lewat saja angkuh tertawa
Tak paham takdir teraniaya

Bocah kecil jangan dilarang
Mencari makan, sekeping uang
Persetan fatwa kami buang
Jadi pemuka cuman melarang.

Vladimir Baihanovsky
19/10/09. 12:42. pm Selengkapnya...