Wayang purwa is a noble culture of Javanese people which is the pride of the Indonesian people and is recognized internationally as a masterpiece. The nobleness of the puppet culture is inseparable from the strong characterization of each character in the puppet. One of the strongest characters in wayang purwa is Werkudara. This research focused on the analysis of Werkudara politeness strategies in wayang purwa in order to explore the characterizations played by Werkudara characters. This research used the politeness theory of Brown & Levinson to deepen the results of the politeness strategy analysis. This study also used descriptive qualitative methods to explain the phenomenon of speech acts of Werkudara in explaining the politeness strategies used. This research data was Werkudara's speech taken from the data source, namely the recording of Ki Nartosabdo's purwa puppet show with Dewa Ruci's play. The results of this study concluded that Werkudara was more dominant in using negative politeness in speaking. The negative politeness strategies used include giving deference; being pessimistic, and using indirect expressions. Furthermore, positive politeness strategies are used by Werkudara, including the use of group identity markers; avoiding disagreement; offering promises, and exaggeration.
Tokoh Werkudara (WR) memiliki kekhasan yang menjadikan tokoh tersebut unik dan berbeda dibanding tokoh lainya dalam pementasan wayang purwa. Secara kebahasaan tokoh WR memiliki gaya berbicara kasar dan tidak pernah berbicara halus, dan cenderung tidak santun terhadap mitra tuturnya. Tujuan penelitian ini adalah mendeskripsikan pola prosodi strategi kesantunan tindak tutur direktif yang dilakukan tokoh Werkudara dalam wayang purwa. Penelitian ini menggunakan data tindak tutur direktif yang dilakukan tokoh Werkudara dalam lakon Dewa Ruci dengan pemilihan kalimat target tindak tutur direktif requestives sub fungsi meminta dengan struktur S-P-Pel aku jaluk pamit dan tindak tutur direktif questions sub fungsi bertanya dengan strutur apa-S?. Sumber penelitian yang digunakan dalam penelitian ini adalah rekaman video pementasan wayang lakon Dewa Ruci oleh Ki Nartosabdo. Data tuturan tersebut diproses dengan menggunakan aplikasi Praat dengan berpedoman pada aturan IPO (Instituut voor Perceptie Onderzoek) guna menggambarkan dan mempersepsikan aspek prosodi dari tuturan Werkudara kepada masing-masing mitratuturnya. Penelitian ini menggunakan teori pragmatik sebagai pisau bedah guna menjelaskan hubungan pola prosodi dalam membangun kesatunan dengan mitra tutur. Hasil penelitian ini dapat dijelaskan tiga pola prosodi dalam tindak tutur direktif Werkudara, yaitu pertama, konteks mitra tutur (+D, +P ‘met’) dalam tuturanya Werkudara menggunakan pola prosodi kontur nada turun atau deklinasi, julat nada tinggi (melodis), dan durasi panjang. Kedua konteks mitra tutur (-D, +P ‘met’) menggunakan pola prosodi kontur nada turun atau deklinasi, julat nada kecil (monoton), dan durasi panjang. Ketiga, konteks mitra tutur (+D, +P ‘mat’) menggunakan pola prosodi kontur nada naik atau inklinasi, julat nada kecil (monoton), dan durasi pendek.Kata kunci: wayang purwa, werkudara, tindak tutur direktif, pola prosodi POLITENESS STRATEGY OF DIRECTIVE SPEECH ACT OF WERKUDARA IN THE WAYANG PURWA: A PROSODIC ANALYSISAbstract The Werkudara (WR) character has a peculiarity that makes this character unique and different from other characters in the shadow-puppet performances. Linguistically, the WR character has a harsh speaking style, never speaks softly, and tends to be disrespectful to his speech partners. The purpose of this study is to describe the prosody pattern of the directive speech acts of the politeness strategy performed by the Werkudara character in the puppet performance. This study uses the directive speech-act data performed by the character Werkudara in Dewa Ruci's play by selecting the target sentence directive speech-act requestives requesting sub-function with the structured target sentences S-P-Pel ‘aku jaluk pamit’ and the directive speech acts question sub-function of asking with the structure what-S?. The research source used in this study was the video recording of the Dewa Ruci puppet performance by Ki Nartosabdo. Furthermore, the speech data is processed using the Praat application guided by the IPO rules (Instituut voor Perceptie Onderzoek) to describe and perceive the prosody aspects of Werkudara's speech to each of his partners. This study uses the pragmatic theory as a tool to explain prosody patterns in building politeness with speech partners. The results of the study indicate the three prosody patterns in the speech acts of the Werkudara as follows. First, the context of the speech partners (+ D, + P 'met') in Werkudara's speech uses the prosody pattern of downward pitch or declination contours, high pitch range (melodic), and long duration. Second, the two contexts of speech partners (-D, + P 'met') use a downward or declination prosody pattern, a small pitch range (monotone), and a long duration. Third, the context of speech partners (+ D, + P 'mat') uses a prosody pattern of rising or inclination contours, small pitch ranges (monotone), and short duration.Keys word: shadow puppet, Werkudara, directive speech acts, prosody patterns.
Wayang kulit purwa is a Javanese culture that is still maintained its existence until now. This existence is inseparable from the use of a variety of beautiful languages in each of its performances. One special form of language variation can be found in the antawacana section or characteristic of character dialogue. One figure who is unique in conducting antawacana is the Werkudara figure. Werkudara has a characteristic, namely the use of a variety of ngoko languages in each of its speeches. The uniqueness also reflects the original character of Werkudara. For this reason, this study uses a stylistic study to explore more deeply how the character of Werkudara by analyzing the language style used by Werkudara when conducting antawacana. The descriptive qualitative method was used in this study to provide a deep explanation of the linguistic phenomenon of Werkudara figures. The results of this study are, 1) utilization of purwakanthi swara or assonance /a/ and /Ɔ/ in each antawacana, 2) the use of purwakanthi sastra or alliteration /p/ plosive sound, 3) the use of purwakanthi lumaksita as an affirmation of meaning, and 4) the use a variety of ngoko languages to fellow humans, and 5) the use of a variety of krama languages to Dewa Ruci. These characteristics imply the character of Werkudara as a figure who is firm, courageous, straightforward, obedient, and respectful.
Penelitian ini bertujuan untuk memaparkan jenis kontruksi aposisi dalam bahasa Jawa serta mengungkap motif penggunaan aposisi dalam media massa berbahasa Jawa. Media cetak yang menjadi sumber data adalah Panjebar Semangat edisi Februari—Mei 2019, dalam rubrik Pangudarasa. Data berupa kalimat, kemudian dianalisis dengan teknik permutasi dan ellipsis sehingga penulis dapat memaparkan jenis konstruksi aposisi yang terdapat dalam bahasa Jawa motif tujuan penggunaan aposisinya. Hasil penelitian menjelaskan bahwa dalam majalah Panjebar Semangat terdapat tiga pola aposisi yang digunakan, yaitu aposisi penuh, aposisi sebagian atau aposisi mewatasi, dan aposisi tak mewatasi. Merujuk pada motifnya, dalam majalah Panjebar Semangat ditemukan 8 motif aposisi, yaitu ketercukupan informasi, kejelasan istilah, pemberian informasi baru, kompetisi bahasa, pembentukan citra tokoh, instansi atau lembaga, penekanan emosi, penghormatan, dan pembangun humanisme.
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