kementerian pendidikan dan kebudayaan

P-ISSN 2086-6038 E-ISSN 2580-9717

Volume 9, Nomor 2, Edisi Oktober 2018

Teks Berita Republika Terkait Perceraian Ahok dan Veronica Tan Ali Kusno Dinamika Kepribadian Tokoh Nayla dalam Kumpulan Cerpen Saia Elva Yusanti Penggunaan Bahasa Penyiar Radio di Daerah Istimewa Yogyakarta Riani Psychological Condition of Richard Strickland in The Shape of Water Alberta Natasia Adji, Azis Bilbargoya Kemampuan Verbal Penderita Auditory Agnosia Anita Anggraini, Gusdi Sastra, Al Hafiz Penggunaan Konjungsi dalam Wacana Pembelajaran Literasi Yeni Maulina Cerita Rakyat “Saliwu, Pahlawan Suku Padoe” Mustafa Bahasa dan Ekonomi: Alih Kode dan Campur Kode Bahasa Melayu Malaysia ke dalam Bahasa Indonesia Nani Darmayanti, Nurul Hikmayaty, Yuyu Yohana, Risagarniwa

Representasi Falsafah Jawa dalam Cerita Rakyat “Terjadinya Terowongan Air Mangge” Mustafa Potret Matrilineal dalam “Rumah untuk Kemenakan” Karya Iyut Fitra Marlina

KEMENTERIAN PENDIDIKAN DAN KEBUDAYAAN P-ISSN 2086-6038 E-ISSN 2580-9717

Terakreditasi Peringkat 3 Nomor 21/E/KPT/2018


ISSN: 2086-6038 (Print) ISSN: 2580-9717 (Online)

madah Jurnal Bahasa dan Sastra Penanggung Jawab Drs. Umar Solikhan, M.Hum. Pemimpin Redaksi Dessy Wahyuni, S.S., M.Pd. Redaktur Pelaksana Raja Rachmawati, S.Pd.

Penyunting Pelaksana Sarmianti, S.S. (Sastra, Balai Bahasa Riau) Dr. Fatmahwati (Bahasa dan Pengajaran, Balai Bahasa Riau) Zainal Abidin, S.S. (Bahasa, Balai Bahasa Riau) Raja Saleh, M.Pd. (Bahasa, Balai Bahasa Riau) Sarip Hidayat, S.Pd., M.Hum. (Sastra, Balai Bahasa Jawa Barat) Alber (Bahasa, Universitas Islam Riau) Mitra Bestari Prof. Dr. Suminto A. Sayuti (Sastra, Universitas Negeri Yogyakarta) Prof. Dr. Dendy Sugono (Bahasa, Universitas Negeri Jakarta) Prof. Dr. Rahayu Surtiati Hidayat (Bahasa, Universitas Indonesia) Prof. Bachrudin Musthafa, M.A., Ph.D., (Pengajaran Bahasa dan Sastra, Universitas Pendidikan Indonesia) Prof. Dr. Hasanuddin W.S. (Sastra dan Pengajaran, Universitas Negeri Padang) Prof. Dr. Agus Nuryatin (Sastra, Universitas Negeri Semarang) Prof. Dr. Hj. Nadra, M.S. (Bahasa, Universitas Andalas) Prof. Dr. Hasnah Faizah A.R., M.Hum. (Bahasa dan Pengajaran, Universitas Riau) Dr. Aprinus Salam (Sastra, Universitas Gadjah Mada) Drs. Faldy Rasyidie, M.Sas. (Bahasa, Universitas Nasional) Dr. Nani Darmayanti (Bahasa, Universitas Padjajaran) Pengatak Fandi Agusman, S.Kom. (Balai Bahasa Riau) Alamat Redaksi Balai Bahasa Riau Jalan Binawidya, Kompleks Universitas Riau, Panam, Pekanbaru 28293 Telepon/Faksimile (0761) 65930 dan 589452 Pos-el: [email protected]

Pengantar Redaksi Puji syukur kami persembahkan kepada Tuhan Yang Maha Esa atas kabar gembira berikut. Berdasarkan kutipan dari Keputusan Direktur Jenderal Penguatan Riset dan Pengembangan Kementerian Riset, Teknologi, dan Pendidikan Tinggi Republik Indonesia Nomor 21/E/KPT/2018, tanggal 9 Juli 2018 tentang Peringkat Akreditasi Jurnal Ilmiah Periode I Tahun 2018, Madah: Jurnal Bahasa dan Sastra ditetapkan sebagai Jurnal Ilmiah Terakreditasi Peringkat 3. Akreditasi berlaku selama 5 (lima) tahun, yaitu Volume 7 Nomor 1 Tahun 2016 sampai dengan Volume 11 Nomor 2 Tahun 2020. Tentu saja raihan ini adalah hasil kerja sama dan dukungan berbagai pihak yang tidak bisa kami sebutkan satu per satu. Kini, Balai Bahasa Riau kembali menghadirkan terbitan ilmah kebahasaan dan kesastraan kepada pembaca. Terbitan ini dipersembahkan dalam Madah: Jurnal Bahasa dan Sastra, Volume 9, Nomor 2, Edisi Oktober 2018. Pada edisi ini, terdapat sepuluh tulisan ilmiah yang terdiri atas lima tulisan kebahasaan dan lima tulisan kesastraan. Penulis yang membagikan pemikiran cemerlangnya pada edisi ini datang dari berbagai daerah di Indonesia. Tulisan tentang kesastraan ditulis oleh Alberta Natasia Adji dan Azis Bilbargoya (Universitas Airlangga), Elva Yusanti (Kantor Bahasa Jambi), Edy Suprayitno, Syamsudin Rois, Bambang Harmanto, dan Nurul Iman (STKIP PGRI Ponorogo dan Universitas Muhammadiyah Ponorogo), Marlina (Balai Bahasa Riau), dan Mustafa (Balai Bahasa Sulawesi Selatan). Sementara, tulisan tentang kebahasaan datang dari Ali Kusno (Kantor Bahasa Kalimantan Timur), Anita Anggraini, Gusdi Sastra, dan Al Hafiz (Universitas Andalas), Nani Darmayanti, Nurul Hikmayaty, dan Yuyu Yohana Risagarniwa (Universitas Padjadjaran), Riani (Balai Bahasa Daerah Istimewa Yogyakarta), dan Yeni Maulina (Balai Bahasa Riau). Tokoh dalam suatu karya sastra merupakan cerminan dari manusia nyata. Oleh karena itu, tokoh tersebut dapat dianalisis kejiwaannya seperti manusia sebenarnya. Kondisi kejiwaan Richard Strickland, tokoh antagois utama dalam novel The Shape of Water diuraikan melalui teori psikoanalisis Sigmund Freud. Kebiasaan buruk Richard Strikland didorong oleh tiga sifat utamanya, yaitu kebencian, rasa jijik, dan ketakutan. Melalui pembacaan cermat dan menganalisis dengan teori psikoanalisis, Alberta Natasia Adji dan Azis Bilbargoya, dalam tulisannya yang berjudul “Psychological Condition of Richard Strickland in The Shape of Water” dapat menemukan hal-hal kejiwaan yang membentuk perilaku Strickland. ii

Masih mengulas tentang tokoh, dalam tulisannya “Dinamika Kepribadian Tokoh Nayla dalam Kumpulan Cerpen Saia”, Elva Yusanti menjelaskan bagaimana dinamika kepribadian tokoh Nayla sebagai dampak dari masa lalunya. Dalam kumpulan cerpen Saia karya Djenar Maesa Ayu, banyak dipaparkan tokoh yang mengalami kekerasan fisik dan seksual. Dalam melakukan analisis kepribadian tokoh, Elva juga menggunakan teori dinamika kepribadian Freud dengan metode kualitatif dan teknik pembacaan dan pencatatan. Melalui analisis yang dilakukan Elva Yusanti terlihat dinamika kepribadian Nayla dan faktor yang membentuk dinamika kepribadian itu. “Representasi Falsafah Jawa dalam Cerita Rakyat ‘Terjadinya Terowongan Air Mangge’” adalah judul tulisan Edy Suprayitno, Syamsudin Rois, Bambang Hermanto, dan Nurul Iman. Masyarakat Jawa dalam tindak tanduknya selalu menerapkan falsafah yang mereka yakini sejak zaman dahulu. Falsafah Jawa itu di antaranya diturunkan melalui cerita rakyat. Cerita rakyat yang telah beredar dalam masyarakat sejak dulu, masih dikenal dan digemari hingga kini. Oleh karena itu, falsafah hidup tersebut masih tetap dipegang oleh orang Jawa. Melalui metode deskriptif kualitatif, cerita rakyat “Terjadinya Terowongan Air Mangge” dianalisis untuk menemukan representasi falsafah Jawa. Berbeda dengan Edy dkk. yang mengangkat falsafah hidup orang Jawa, Marlina mencoba menelaah adat budaya orang Minang dalam tulisannya. Adat budaya yang dijadikan permasalahan dalam tulisan ini adalah sistem kekerabatan matrilineal pada masyarakat Minang. Salah satu ciri dari sistem kekerabatan ini adalah kaum laki-laki yang tidak memiliki hak atas tanah pusaka. Marlina menelaah benturan-benturan yang terjadi akibat sistem kekerabatan ini dalam cerpen “Rumah untuk Kemenakan”. Telaah dilakukan menggunakan metode deskriptif-analisis dengan teori sosiologi sastra yang menghasilkan tulisan berjudul “Potret Matrilineal dalam ‘Rumah untuk Kemenakan Karya Iyut Fitra’”. Cerita rakyat adalah sastra yang disampaikan secara turun-menurun dan selalu sarat akan nilai dan konsep kehidupan. Pada edisi ini, Mustafa menelaah cerita rakyat masyarakat Luwu. Cerita rakyat yang dianalisis adalah “Saliwu, Pahlawan Suku Padoe”. Cerita ini berkisah tentang kepahlawanan Saliwu. Karena unsur penokohan dominan dalam cerita ini, penelaahan pun difokuskan pada tokoh dengan menggunakan model analisis Levi-Strauss. Kepahlawanan Saliwu akan semakin terlihat bila diperhatikan hubungan antarunsur struktur pada setiap episode cerita. Dari kesastraan, beralih ke isu kebahasaan. Berita tentang orang terkenal di media massa pasti akan menjadi perhatian banyak orang. Sebuah media yang baik saat memberitakan suatu masalah tentu harus berada di tengah, tidak berpihak, atau iii

menggiring opini pembaca. Ahok misalnya. Sebagai tokoh yang terkenal karena kasus penistaan agama, segala tindak tanduknya pasti akan menjadi perhatian publik. Saat Ahok menggugat cerai Veronica Tan, istrinya, beritanya kembali menjadi sorotan. Berbagai media memuat berita ini. Model pemberitaan juga beragam. Ali Kusno dalam tulisannya “Teks Berita Republika Terkait Perceraian Ahok dan Veronica Tan” mengupas wacana pemberitaannya. Penelitian ini bertujuan mendeskripsikan struktur teks, praktik wacana, dan ideologi pemberitaan melalui analisis wacana kritis Fairclough. Kemampuan seseorang dalam berkomunikasi lisan selalu bergantung pada kelengkapan/kemampuan alat ucap dan alat dengar. Bila seseorang memiliki kekurangan/keterbatasan pada dua alat itu, kemampuan berkomunikasinya juga akan terganggu. Hal ini yang dialami seseorang bernama Tifa. Dia mengalami gangguan pada pendengaran yang disebut Auditory Agnosia. Untuk itu, dilakukan penelitian berupa studi kasus yang dilakukan oleh Anita Anggraini, Gusdi Sastra, dan Al Hafiz dengan judul “Kemampuan Verbal Penderita Auditory Agnosia”. Penelitian ini menggunakan Brainsteam Evoked Response Audiometry (BERA) dan Otoacoustic Emission (OAE) untuk mengetahui kemampuan mendengar Tifa. Untuk menjelaskan kemampuan verbal digunakan teori kesalahan fonologi Blumsten dan untuk kemampuan pengelompokan kelas kata pada tataran morfologi dan kemampuan sintaksis digunakan teori dari Kridalaksana. Saat ini, kunjungan wisatawan Malaysia ke Bandung semakin meningkat. Salah satu tujuan yang hampir tidak pernah dilewatkan adalah berwisata belanja ke Pasar Baru, Bandung. Selain berdampak pada ekonomi, kunjungan itu juga berdampak pada bahasa yang digunakan penjual. Keadaan ini menarik perhatian Nani Darmayanti, Nurul Hikmayaty, dan Yuyu Yohana Risagarniwa untuk kemudian melakukan penelitian. Penelitian ini diberi judul “Bahasa dan Ekonomi: Alih Kode dan Campur Kode Bahasa Melayu Malaysia ke dalam Bahasa Indonesia”. Dengan metode deskriptif dan pendekatan sosiolinguistik, penelitian ini bertujuan untuk (1) mendeskripsikan bentuk alih kode dan campur kode antara bahasa Melayu Malaysia dan Bahasa Indonesia dalam situasi transaksi, dan (2) mendeskripsikan latar belakang fenomena itu. Masih membicarakan alih kode dan campur kode, Riani menulis tentang “Penggunaan Bahasa Penyiar Radio di Daerah Istimewa Yogyakarta”. Menurut Riani, situasi kebahasaan di Daerah Istimewa Yogyakarta (DIY) dipengaruhi oleh kontak bahasa, diglosia, dan bilingualisme. Situasi ini membuat terjadinya alih kode dan iv

campur kode dalam masyarakat, tidak terkecuali penyiar radio. Padahal, penyiar radio merupakan agen yang berperan penting dalam penyebaran bahasa Indonesia. Dalam penelitian ini, Riani mendeskripsikan penggunaan bahasa penyiar radio di DIY dan faktor yang memengaruhinya. Bila tiga tulisan sebelumnya lebih kepada bahasa lisan, Yeni Maulina tertarik pada bahasa tulis. Dia melihat kemampuan bahasa tulis siswa SD dengan memfokuskan perhatian pada penggunaan konjungsi saat menulis wacana pembelajaran literasi. Hal ini dirangkum dalam tulisan berjudul “Penggunaan Konjungsi dalam Wacana Pembelajaran Literasi”. Penelitian dilakukan terhadap 50 tulisan siswa hasil penceritaan ulang lima cerita rakyat. Melalui metode deskriptif analitis, penulis mencoba menemukan frekuensi kemunculan dan ketepatan penggunaan konjungsi oleh siswa SD di Pekanbaru. Demikianlah berbagai penelitian yang telah dilakukan pada bidang kesastraan dan kebahasaan. Atas sumbangan pemikiran yang diberikan penulis dalam terbitan ini, kami mengucapkan terima kasih. Semoga tulisan yang dimuat pada jurnal kali ini dapat memberi ide dan wawasan baru bagi pembaca. Madah: Jurnal Bahasa dan Sastra tidak akan mampu menerbitkan tulisan yang baik tanpa bantuan dari mitra bestari. Ucapan terima kasih yang tulus kami sampaikan kepada Prof. Dr. Suminto A. Sayuti, Prof. Dr. Dendy Sugono, Prof. Dr. Rahayu Surtiati Hidayat, Prof. Bachrudin Musthafa, M.A., Ph.D., Prof. Dr. Hasanuddin W.S., Prof. Dr. Agus Nuryatin, Prof. Dr. Hj. Nadra, M.S., Prof. Dr. Hasnah Faizah A.R., M.Hum., Dr. Aprinus Salam, dan Drs. Faldy Rasyidie, M.Sas. Tuhan jugalah yang akan membalas kebaikan mereka. Amin. Madah: Jurnal Bahasa dan Sastra masih terus berbenah diri untuk tampil lebih baik ke hadapan pembaca. Untuk itu, kami akan berterima kasih bila diberi saran dan masukan yang bermanfaat. Semoga edisi ini berguna bagi pembaca untuk meningkatkan penelitian sejenis juga berguna untuk perkembangan ilmu bahasa dan sastra. Selamat membaca! Pekanbaru, Oktober 2018 Redaksi

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UCAPAN TERIMA KASIH UNTUK MITRA BESTARI Redaksi mengucapkan terima kasih kepada mitra bestari yang telah me-review artikel yang diterbitkan dalam Madah: Jurnal Bahasa dan Sastra, Volume 9, Nomor 2, Edisi Oktober 2018. Para mitra bestari tersebut adalah sebagai berikut. Prof. Dr. Suminto A. Sayuti (Universitas Negeri Yogyakarta) Prof. Dr. Dendy Sugono (Universitas Negeri Jakarta) Prof. Dr. Rahayu Surtiati Hidayat (Bahasa, Universitas Indonesia) Prof. Bachrudin Musthafa, M.A., Ph.D., (Pengajaran Bahasa dan Sastra, Universitas Pendidikan Indonesia) Prof. Dr. Hasanuddin W.S. (Universitas Negeri Padang) Prof. Dr. Agus Nuryatin (Universitas Negeri Semarang) Prof. Dr. Hj. Nadra, M.S. (Universitas Andalas) Prof. Dr. Hasnah Faizah A.R., M.Hum. (Universitas Riau) Dr. Aprinus Salam (Universitas Gadjah Mada) Drs. Faldy Rasyidie, M.Sas. (Universitas Nasional)

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madah

ISSN: 2086-6038 (Print) ISSN: 2580-9717 (Online)

JURNAL BAHASA DAN SASTRA

Teks Berita Republika Terkait Perceraian Ahok dan Veronica Tan Ali Kusno

117—130

Dinamika Kepribadian Tokoh Nayla dalam Kumpulan Cerpen Saia Elva Yusanti

131—144

Penggunaan Bahasa Penyiar Radio di Daerah Istimewa Yogyakarta Riani

145—164

Psychological Condition of Richard Strickland in The Shape of Water Alberta Natasia Adji, Azis Bilbargoya

165—178

Kemampuan Verbal Penderita Auditory Agnosia Anita Anggraini, Gusdi Sastra, Al Hafiz

179—190

Penggunaan Konjungsi dalam Wacana Pembelajaran Literasi Yeni Maulina

191—202

Cerita Rakyat “Saliwu, Pahlawan Suku Padoe” Mustafa

203—216

Bahasa dan Ekonomi: Alih Kode dan Campur Kode Bahasa Melayu Malaysia ke dalam Bahasa Indonesia Nani Darmayanti, Nurul Hikmayaty, Yuyu Yohana Risagarniwa

217—230

Representasi Falsafah Jawa dalam Cerita Rakyat “Terjadinya Terowongan Air Mangge” Mustafa

231—244

Potret Matrilineal dalam “Rumah untuk Kemenakan” Karya Iyut Fitra Marlina

245—256

vii

madah Jurnal Bahasa dan Sastra

Volume 9 Nomor 2

Halaman 117—256

Pekanbaru ISSN 2086-6038 (Print) Oktober ISSN 2580-9717 (Online) 2018

Volume 9, Number 2, Edition: October 2018

madah

The keywords written on every abstract are the words that represent the main concept of the paper. The following abstracts compilation is allowed to be copied without permission of the author/publisher.

Ali Kusno (Kantor Bahasa Kalimantan Timur) Republika Text News on Ahok and Veronica Tan’s Divorce Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 117—130 News about Ahok's divorce made the mass line tempestuos. Whereas, sometime before, Ahok appeared with a blasphemy case which seized public attention. He was even jailed for this case. The Ahok issue caused various responses from netizen. News in various media has never stopped, including Republika. There are also various news types that have come up. For this reason, in this study, the author is interested in analyzing news related to the divorce of Ahok and Veronica Tan. This study aims at elaborating the text structure, discourse practices, and news ideology regarding Ahok's divorce by applying Fairclough's critical discourse analysis approach. Research data is in the form of news documents at www.republika.com. The results show that the textual analysis in the opening section shows the selection of titles that do not discredit Ahok and the closing part uses argumentative to neutralize negative issues. The dimension of discourse practice shows that Republika's news cannot be separated from Ahok's personal figure. The dimension of socio-cultural practices shows Ahok seized public attention when related to blasphemy cases and imprisoned. Ahok once again sticks to the public regarding divorce. The ideology of placing Ahok's case is not related to political interests and trying to proclaim Ahok's divorce objectively. Keywords: critical discourse analysis; news text; Republika; Ahok divorce Elva Yusanti (Kantor Bahasa Jambi) Personality Dynamics in the Character of Nayla in Short Stories Compilation Saia Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 131—144 Djenar Maesa Ayu, through Saia's short story compilation, explained the physical and sexual violence undergone by her character. The violence is generally carried out by the closest person so that it forms the dynamics of the personality of the character. In this study, the problem discussed is how the dynamics of Nayla character's personality as a result of his past. This study aims at determining the dynamics of Nayla's personality. To solve problems and achieve goals, Freud's personality dynamics theory and qualitative methods are used by applying reading and recording techniques. The results show that the dynamics of Nayla's personality consisted of the instincts of life in the form of infantile sexual narcissism and exhibitionism, the instincts of death and viii

desire to die, and objective and neurotic anxiety. Based on the results of the study, it can be concluded that personality dynamics are found in adult and children of Nayla figures, while the factors that shape personality dynamics are family and environment. Keywords: personality dynamics; infantile sexuality; objective anxiety; neurotic anxiety Riani (Balai Bahasa Daerah Istimewa Yogyakarta) Language Use of Radio Broadcasters in Daerah Istimewa Yogyakarta Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 145—164 The linguistic situation in the Daerah Istimewa Yogyakarta is influenced by language contact, diglosia, and bilingualism because there are three languages in the community, namely Indonesian, regional, and foreign language. In this situation, there are linguistic symptoms such as code mixing and code switching, there is no exception to radio broadcaster’s language use. In fact, broadcaster is an agent who has an important role and influence in spreading of Indonesian in DIY. Therefore, this study discusses how radio broadcaster’s language use in Daerah Khusus Yogyakarta and what factors influence it. This study aims to describe how broadcaster’s language use and the factors that influence it in DIY. This research is qualitative descriptive. The data in this study is radio broadcaster’s language use in several programs recorded in February—April 2017. The result of the analysis shows that broadcaster’s language use is influenced by nonlinguistic factors which include topic, participant, community participant, situation, goal, action, tone of voice, speech tool, and the norm of speaking. Topic plays a more dominant role than other nonlinguistic factors. The broadcaster uses formal Indonesian spoken speech and a little of code switching to Arabic when delivering serious topics, such as news topics. Meanwhile, the broadcaster use non-formal spoken Indonesian and more code switching, such as into English or Javanese when bringing relaxing events, such as entertainment topics. Keywords: language use; broadcaster; nonlinguistic factors Alberta Natasia Adji, Azis Bilbargoya (Universitas Airlangga) Psychological Condition of Richard Strickland in The Shape of Water Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 165—178 This study strives to elucidate the psychological condition of Richard Strickland, the main antagonist in Guillermo Del Toro’s and Daniel Kraus’ novel The Shape of Water. This study uses the close-reading method and Sigmund Freud’s psychoanalysis in examining the psychological factors which trigger the three distinctive features of Richard Strickland, namely hate, disgust, and fear, that lead him to pick up destructive murderous habits. The results of data analysis indicate that (1) Strickland’s fear of intimacy has made him distant from his family and colleagues, preventing him from understanding them and instead triggering him to be too attached to General Hoyt’s influence, (2) Strickland’s low selfesteem has made him powerless to defy Hoyt’s authorities but made him feel justified to perform displacement, by torturing and harrassing “lesser” people and animals, and (3) Strickland’s unstable sense of self, rooted on his guilt of conducting violence, making him ix

repress his psychological wounds and destroying his own life. Keywords: The Shape of Water, fear; unstable sense of self; low self-esteem; psychoanalysis Anita Anggraini, Gusdi Sastra, Al Hafiz (Universitas Andalas) Verbal Ability of Auditory Agnosia Sufferer Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 179—190 The purpose of this study is to describe and explain Tifa’s the ability to hear based on examination results by PT Kasoem Hearing, using Brainsteam Evoked Response Audiometry (BERA) and Otoacoustic Emission (OAE., the theory of phonological errors by Blumstein was used to explain Tifa's verbal abilities, and the theory of word class grouping on the morphological level by Alwi, et al was applied in explaining the forms of phonological changes of Tifa’s utterances and and the theory proposed by Kridalaksana was used to get to know Tifa's syntactic abilities. This study is a case study in one of auditory agnosia patients of ENT Polyclinic, M. Djamil Hospital, Padang. The methods and techniques used consist of: the referring method for the stage of data collection by tapping techniques as a basic technique and advanced techniques for observing competent involvement (SLC), refer to free involvement (SBLC), note taking, and recording. Articulatory matching method for the data analysis stage, and formal and informal presentation methods for the presentation of the results of data analysis. The sources of data in this study are in the form of oral taken from the speech of auditory agnosia sufferers, namely Tifa. The result of this study shows that the level of hearing ability of Tifa was in the moderate to heavy category with a hearing threshold of 60—70dB. Phonological errors consist of replacements, omissions, additions and irregularities in sounds. The class of word level that are best understood by children are the things that are closest to them and are to their surroundings. The ability of the children at the level of the sentence, Tifa can pronounce the complete sentence structure, but tends to be flipped between the object elements that always precede the predicate. Keywords: auditory agnosia; hearing ability; verbal ability Yeni Maulina (Balai Bahasa Riau) The Using of Conjunction in Discourse of Literacy Learning Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 191—202 This study aims at determining the use of conjunctions that are often used by the fifth grade elementary school students in writing literacy learning discourse in Pekanbaru. The use of conjunctions that observed is the frequency of their appearance and the accuracy of their use. The method used in this study is analytical descriptive method. The research data consists of 50 essays of students about the retelling of 5 folklores read in Sastranesia activities. The titles of folklore used were “Mutiara dari Indragiri Hilir”, “Buah Ajaib”, “Kampung Tarondam”, “Si Bungsu Anak Durhaka”, dan “Kain Sindai”.’ The results show that there were 15 conjunctions used in 2,140 times of use with 650 coordinative conjunctions and 1,470 subordinatives. The highest frequency of occurrence of conjunctions is found in the type of conjunction that states the x

meaning of sequence, addition, and time. In the essay, 24 misuses of conjunctions were found. There were 11 errors occurred in the use of conjunctions; dan (and) conjunctions were 5 errors; conjunction tapi/tetapi (but) are 4 errors; and conjunctions kemudian (then) were 4 errors. The error in using the conjunction is generally not in accordance with the Indonesian language rules. Besides, it was also found that most of the students' essays consisting of clauses and single sentences. This is due to the limited ability of students to write. Keywords: conjunction use; discourse; literacy learning Mustafa (Balai Bahasa Sulawesi Selatan) The Folklore of “Saliwu, Pahlawan Suku Padoe” Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 71—81 This study aims to research Luwu's oral literary work on the character of the story based on the Levi-Strauss analysis model. "Saliwu, Pahlawan Suku Padoe " is one of the literary works of the Luwu community which is full of values and concepts of life, delivered orally, and passed down from generation to generation to speakers. This story tells about a great king's who struggle with high self-esteem against the oppression of other ethnic group who wished to dominate and colonize their region. In addition, the story can be a source of advice and learning for posterity for the provision of the coming day so that it does not get lost. This story also intends to introduce a character who is described as a great hero and highly respected. He is willing to be held captive and die in exile rather than betraying his people who uphold custom. The theory used is Levi-Strauss with descriptive analysis method. The results found indicate that there is structured relationship between elements in the story and social conditions in the community. Keywords: self-esteem; story structure; social relations Nani Darmayanti, Nurul Hikmayaty, Yuyu Yohana Risagarniwa (Universitas Padjajaran) Language and Economy: Code Switching and Code Mixing of Malay Language to Indonesian Language Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 217—230 This study is motivated by the rapid visiting of Malaysian tourists to Bandung, Indonesia, for shopping trip in Pasar Baru, Bandung. This activity impacts not only the economic field but also the language used by the sellers to the buyers from Malaysia in trading activity. The purposes of this study are describing (1) the form of code switching and code mixing between Malaysian language and Indonesian language in trading situation in Pasar Baru Bandung, and (2) the background of the situation. This study applies descriptive method. The results of the study show that (1) code switching occurred at the level of Malay sentence and code mixing occurred at the level of Malay words to Indonesian language. (2) in general, code switching and code mixing occurred due to economic motives, that is, the seller turns his/her language into Malay Malaysian language so that his/her wares are bought by Malaysian tourists. xi

Keywords: language; economics; code-mixing; code-switching; sociolinguistics Edy Suprayitno,Syamsudin Rois, Bambang Harmanto, Nurul Iman (STKIP PGRI Ponorogo) Representation of Javanese Philosophy in Folklore “Terjadinya Terowongan Air Mangge” Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 231—244 This study discussed about the representation of Javanese philosophy in folklore "Terjadinya Terowongan Air Mangge" (The Qccurrence of Mangosteen Tunnel) in Sukorejo District, Ponorogo Regency. The purpose of this study is to describe the representation of Javanese philosophy in the folklore. The research method used is descriptive qualitative. The research data in are the form of words and sentences, both in the form of narration and conversations of characters in the story. The object of this study is the folklore “Terjadinya Terowongan Air Mangge" in Sukorejo District, Ponorogo Regency. The data sources are folklore "Terjadinya Terowongan Air Mangge" which has been recorded in a compilation of Kumpulan Cerita Rakyat Kabupaten Ponorogo by Kasnadi and Hurustyanti (2016). The technique used is reading, observing, and taking note. This research instrument is the research team. The results show three representations of Javanese living philosophy, namely about (a) divinity; (b) social and humanitarian society; and (c) the natural surroundings. Keywords: Javanese philosophy; folklore; Ponorogo Marlina (Balai Bahasa Riau) Matrilineal Portrait in “Rumah untuk Kemenakan” Written by Iyut Fitra Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 245—256 The Minangkabau community is one of the ethnic groups in Indonesia which has a kinship system based on the maternal lineage. This system is called a matrilineal kinship system, one of the characteristics of its kinship system, Minangkabau men do not have rights to inheritance land. This is what Iyut Fitra raised in his short story entitled "Rumah untuk Kemenakan". This study tried to elaborate the impact of the matrilineal kinship system existed in the short story. The method used in this study is descriptive-analytical. Meanwhile, in order to analyze the short story, the sociology theory of literature was applied. Based on the results of the discussion, it can be concluded that matrilineal culture turned out to have some unfavorable effects on the owner's community, such as no justice for men related to inheritance land and the loss of humanity for upholding custom. Keywords: literary sociology; matrilineal; inheritance

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madah Kata kunci pada setiap abstrak merupakan konsep utama dalam setiap karya tulis. Kumpulan abstrak berikut ini dapat digandakan tanpa izin dari penulis/penerbit. Ali Kusno (Kantor Bahasa Kalimantan Timur) Teks Berita Republika Terkait Perceraian Ahok dan Veronica Tan Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 117—130 Kabar perceraian Ahok membuat lini massa bergejolak. Padahal, beberapa waktu sebelumnya, Ahok sudah muncul dengan kasus penistaan agama yang menyita perhatian publik. Ia bahkan dipenjara akibat kasus ini. Persoalan Ahok tersebut mengundang beragam respons dari warganet. Pemberitaan di berbagai media pun tidak pernah putus, termasuk Republika. Beragam pula model pemberitaan yang bermunculan. Untuk itu, pada penelitian ini, penulis tertarik melakukan analisis terhadap pemberitaan terkait perceraian Ahok dan Veronica Tan. Penelitian ini bertujuan mendeskripsikan struktur teks, praktik wacana, dan ideologi pemberitaan terkait perceraian Ahok melalui pendekatan analisis wacana kritis Fairclough. Data penelitian berupa dokumen pemberitaan di www.republika.com. Hasil penelitian menunjukkan bahwa analisis tekstual pada bagian pembuka terlihat pemilihan judul yang tidak menyudutkan Ahok dan bagian penutup menggunakan argumentatif untuk menetralkan isu-isu negatif. Dimensi praktik wacana menunjukkan pemberitaan Republika tidak bisa dilepaskan dari sosok pribadi Ahok. Dimensi praktik sosial budaya menunjukkan Ahok menyita perhatian publik ketika terkait kasus penistaan agama dan dipenjara. Ahok kembali mencuat ke publik terkait perceraian. Ideologi menempatkan kasus Ahok tidak terkait kepentingan politik dan mencoba memberitakan perceraian Ahok secara objektif. Kata kunci: analisis wacana kritis; teks berita; Republika; perceraian Ahok Elva Yusanti (Kantor Bahasa Jambi) Dinamika Kepribadian Tokoh Nayla dalam Kumpulan Cerpen Saia Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 131—144 Djenar Maesa Ayu, melalui kumpulan cerpen Saia, memaparkan kekerasan fisik dan seksual yang dialami tokohnya-tokohnya. Kekerasan tersebut pada umumnya dilakukan oleh orang terdekat sehingga membentuk dinamika kepribadian tokoh. Dalam penelitian ini, masalah yang dibahas adalah bagaimana dinamika kepribadian tokoh Nayla sebagai dampak dari masa lalunya. Penelitian ini bertujuan untuk mengetahui dinamika kepribadian Nayla tersebut. Untuk memecahkan masalah dan mencapai tujuan, digunakan teori dinamika kepribadian Freud serta metode kualitatif dengan teknik pembacaan dan pencatatan. Hasil xiii

penelitian menunjukkan bahwa dinamika kepribadian Nayla terdiri atas naluri kehidupan berupa seksual infantil narsisisme dan ekshibisionisme, naluri kematian dan keinginan mati, serta kecemasan objektif dan neurotik. Dari hasil penelitian disimpulkan bahwa dinamika kepribadian terdapat pada tokoh Nayla dewasa dan anak-anak, sedangkan faktor yang membentuk dinamika kepribadian itu adalah faktor keluarga dan lingkungan. Kata kunci: dinamika kepribadian; seksual infantil; kecemasan objektif; kecemasan neurotik Riani (Balai Bahasa Daerah Istimewa Yogyakarta) Penggunaan Bahasa Penyiar Radio di Daerah Istimewa Yogyakarta Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 145—164 Situasi kebahasaan di Daerah Istimewa Yogyakarta dipengaruhi oleh kontak bahasa, diglosia, dan bilingualisme karena terdapat tiga bahasa, yaitu bahasa Indonesia, daerah, dan asing. Dalam situasi tersebut terdapat gejala kebahasaan campur kode dan alih kode dan tidak terkecuali terhadap penggunaan penyiar radio. Padahal, penyiar merupakan agen yang memiliki peranan dan pengaruh penting dalam penyebaran bahasa Indonesia di DIY. Oleh sebab itu, penelitian ini membahas bagaimana penggunaan bahasa penyiar radio di Daerah Istimewa Yogyakarta dan apa faktor yang memengaruhinya. Penelitian ini bertujuan untuk mendeskripsikan bagaimana penggunaan bahasa dan faktor yang memengaruhi penggunaan bahasa penyiar radio di DIY. Penelitian ini bersifat kualitatif deskriptif. Data dalam penelitian ini adalah bahasa penyiar pada beberapa acara yang direkam pada bulan Februari—April 2017. Hasil analisis menunjukkan bahwa penggunaan bahasa penyiar dipengaruhi faktor nonlinguistik yang meliputi topik, partisipan, komunitas partisipan, situasi, tujuan, rangkaian tindakan, nada suara, sarana tutur, dan norma berbicara. Topik berperan lebih dominan dibandingkan faktor nonlinguistik lainnya. Penyiar menggunakan tuturan lisan bahasa Indonesia formal dan sedikit alih kode ke bahasa Arab saat membawakan topik serius, misalnya topik berita. Sebaliknya, penyiar menggunakan bahasa Indonesia lisan nonformal dan lebih banyak alih kode ke bahasa Inggris saat membawakan acara santai, misalnya topik hiburan. Kata kunci: penggunaan bahasa; penyiar radio; faktor nonlinguistik Alberta Natasia Adji, Azis Bilbargoya (Universitas Airlangga) Kondisi Kejiwaan Richard Strickland dalam The Shape of Water Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 165—178 Penelitian ini bertujuan untuk menguraikan kondisi kejiwaan Richard Strickland, tokoh antagonis utama dalam novel The Shape of Water karya Guillermo Del Toro dan Daniel Kraus. Penelitian ini menggunakan metode pembacaan cermat dan teori psikoanalisis dari Sigmund Freud dengan menelaah faktor-faktor psikologis yang memicu ketiga sifat xiv

utama Richard Strickland, yakni kebencian, rasa jijik, dan ketakutan yang mendorongnya melakukan kebiasaan-kebiasaan buruk. Simpulan dari penelitian ini ialah (1) ketakutan akan keintiman yang dialami Strickland membuatnya jauh, secara emosi, dari keluarga dan rekan-rekan kerjanya, yang mendorongnya untuk beralih mengabdikan diri sepenuhnya pada Jenderal Hoyt; (2) rasa rendah diri Strickland membuatnya segan menentang kebijakan-kebijakan brutal Hoyt, tetapi di sisi lain memicu Strickland untuk merasa berhak menyakiti hewan dan orang-orang yang berstatus sosial lebih rendah; dan (3) ketidakstabilan diri Strickland yang berakar dari rasa bersalahnya karena telah banyak membunuh yang membuatnya menekan luka-luka psikologisnya dan menghancurkan hidupnya. Kata kunci: The Shape of Water; ketakutan; ketidakstabilan diri; rasa rendah diri; psikoanalisis Anita Anggraini, Gusdi Sastra, Al Hafiz (Universitas Andalas) Kemampuan Verbal Penderita Auditory Agnosia Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 179—190 Tujuan penelitian ini mendeskripsikan dan menjelaskan kemampuan mendengar Tifa berdasar hasil pemeriksaan oleh PT Kasoem Hearing, menggunakan Brainsteam Evoked Response Audiometry (BERA) dan Otoacoustic Emission (OAE). Menjelaskan kemampuan verbal Tifa menggunakan teori kesalahan fonologi oleh Blumstein digunakan untuk menjelaskan bentuk-bentuk perubahan fonologis yang diujarkan oleh Tifa, teori pengelompokan kelas kata pada tataran morfologi oleh Alwi, dkk, serta untuk mengetahui kemampuan sintaksis Tifa menggunakan teori yang dikemukakan Kridalaksana. Penelitian ini merupakan studi kasus pada salah satu pasien auditory agnosia Poliklinik THT RSUP M. Djamil Padang. Metode dan teknik yang digunakan terdiri atas: metode simak untuk tahap pengumpulan data dengan teknik sadap sebagai teknik dasar dan teknik lanjutan simak libat cakap (SLC), simak bebas libat cakap (SBLC), catat, dan rekam. Metode padan artikulatoris untuk tahap analisis data, dan metode penyajian formal dan informal untuk tahap penyajian hasil analisis data. Sumber data dalam penelitian ini berbentuk lisan yang diambil dari ujaran penderita auditory agnosia, yaitu Tifa. Penelitian ini menemukan bahwa derajat kemampuan mendengar Tifa berada pada kategori sedang berat dengan ambang pendengaran 60-70dB. Kesalahan fonologis terdiri atas penggantian, penghilangan, penambahan, dan ketidakteraturan bunyi. Tataran kelas kata yang paling dipahami anak adalah halhal yang paling dekat dengannya dan berada dekat di lingkungan sekitarnya. Kemampuan anak pada tataran kalimat, Tifa bisa melafalkan struktur kalimat lengkap, tetapi cenderung terbolak-balik antara unsur objek yang selalu mendahului predikat. Kata kunci: auditory agnosia; kemampuan mendengar; kemampuan verbal

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Yeni Maulina (Balai Bahasa Riau) Penggunaan Konjungsi dalam Wacana Pembelajaran Literasi Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 191—202 Penelitian ini bertujuan untuk mengetahui penggunaan konjungsi yang sering digunakan oleh siswa kelas V SD di Kota Pekanbaru dalam menulis wacana pembelajaran literasi. Penggunaan konjungsi yang dilihat adalah frekuensi kemunculannya serta ketepatan penggunaannya. Metode yang digunakan dalam penelitian ini adalah metode deskriptif analitis. Data penelitian berupa 50 karangan siswa tentang penceritaan ulang dari 5 cerita rakyat yang dibacakan pada kegiatan Sastranesia. Judul cerita rakyat yang digunakan tersebut adalah “Mutiara dari Indragiri Hilir”, “Buah Ajaib”, “Kampung Tarondam”, “Si Bungsu Anak Durhaka”, dan “Kain Sindai”. Hasil penelitian menunjukkan bahwa terdapat 15 konjungsi yang digunakan dalam 2.140 kali penggunaan dengan 650 konjungsi koordinatif dan 1.470 subordintif. Frekuensi kemunculan konjungsi yang paling tinggi ditemukan pada jenis konjungsi yang menyatakan makna urutan, penambahan, dan waktu. Dalam karangan tersebut ditemukan 24 kesalahan pemakaian konjungsi. Kesalahan terdapat pada pemakaian konjungsi yang sebanyak 11 kesalahan; konjungsi dan sebanyak 5 kesalahan; konjungsi tapi/tetapi sebanyak 4 kesalahan; dan konjungsi kemudian sebanyak 4 kesalahan. Kesalahan pemakaian konjungsi tersebut pada umumnya tidak sesuai dengan kaidah bahasa Indonesia. Selain itu, ditemukan pula sebagian besar hasil karangan siswa terdiri atas klausa dan kalimat tunggal. Hal ini disebabkan oleh terbatasnya kemampuan siswa dalam menulis. Kata kunci: pemakaian konjungsi; wacana; pembelajaran literasi Mustafa (Balai Bahasa Sulawesi Selatan) Cerita Rakyat “Saliwu, Pahlawan Suku Padoe” Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 71—81 Penelitian ini bertujuan mengkaji sebuah karya sastra lisan Luwu tentang karakter tokoh cerita menurut model analisis Levi-Strauss. “Saliwu, Pahlawan Suku Padoe” adalah salah satu karya sastra masyarakat Luwu yang sarat dengan nilai dan konsep-konsep kehidupan, disampaikan secara lisan, serta turun temurun dari generasi ke generasi kepada penuturnya. Kisah ini bercerita tentang perjuangan seorang raja yang besar dengan harga diri yang tinggi dalam melawan penindasan suku-suku lain yang berkehendak menguasai sekaligus menjajah daerahnya. Di samping itu, cerita tersebut dapat menjadi bahan nasihat dan pembelajaran bagi anak cucu untuk bekal pada hari mendatang agar tidak salah langkah/tersesat. Cerita ini pun bermaksud memperkenalkan seorang tokoh yang digambarkan sebagai seorang pahlawan besar dan sangat disegani. Ia rela ditawan dan mati dalam pengasingan daripada mengkhianati rakyatnya yang menjunjung tinggi adat. Teori yang digunakan adalah teori Levi-Strauss dengan metode analisis deskriptif. Hasil yang ditemukan menunjukkan adanya hubungan yang terstruktur antarelemen dalam cerita dan kondisi sosial di masyarakat.

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Kata kunci: harga diri; struktur cerita; relasi sosial Nani Darmayanti, Nurul Hikmayaty, Yuyu Yohana Risagarniwa (Universitas Padjajaran) Bahasa dan Ekonomi: Alih Kode dan Campur Kode Bahasa Melayu Malaysia ke dalam Bahasa Indonesia Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 217—230 Penelitian ini dilatarbelakangi derasnya kunjungan wisatawan dari Malaysia ke Bandung, Indonesia, untuk berwisata belanja di Pasar Baru, Bandung. Kunjungan wisata belanja itu selain berdampak pada ekonomi juga berdampak pada bahasa yang digunakan penjual kepada pembeli ketika bertransaksi. Tujuan penelitian ini adalah (1) mendeskripsikan bentuk alih kode dan campur kode antara bahasa Melayu Malaysia dan bahasa Indonesia dalam situasi transaksi di Pasar Baru, Bandung, dan (2) mendeskripsikan latar belakang fenomena itu. Penelitian ini menggunakan metode deskriptif dengan pendekatan sosiolinguistik. Hasil penelitian menunjukkan bahwa (1) alih kode terjadi pada tataran kalimat dan campur kode berlaku pada tataran kata bahasa Melayu Malaysia ke dalam bahasa Indonesia; (2) pada umumnya alih kode dan campur kode yang terjadi dilatarbelakangi motif ekonomi, yaitu penjual mengubah gaya bahasanya menjadi bahasa Melayu Malaysia agar barang dagangannya dibeli oleh para wisatawan Malaysia. Kata kunci: bahasa; ekonomi; alih kode; campur kode; sosiolinguistik Edy Suprayitno,Syamsudin Rois, Bambang Harmanto, Nurul Iman (STKIP PGRI Ponorogo) Representasi Falsafah Jawa dalam Cerita Rakyat “Terjadinya Terowongan Air Mangge” Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 231—244 Penelitian ini mengkaji tentang representasi falsafah Jawa dalam cerita rakyat “Terjadinya Terowongan Air Mangge” di Kecamatan Sukorejo, Kabupaten Ponorogo. Tujuan penelitian ini untuk mendeskripsikan representasi falsafah Jawa dalam cerita rakyat tersebut. Metode penelitian yang digunakan adalah deskriptif kualitatif. Data penelitian berupa kata-kata dan kalimat, baik berupa narasi cerita maupun percakapan tokoh dalam cerita. Objek penelitian ini adalah cerita rakyat “Terjadinya Terowongan Air Mangge” di Kecamatan Sukorejo, Kabupaten Ponorogo. Sumber data adalah cerita rakyat “Terjadinya Terowongan Air Mangge” yang telah dibukukan dalam Kumpulan Cerita Rakyat Kabupaten Ponorogo oleh Kasnadi dan Hurustyanti (2016). Teknik yang digunakan yakni baca, simak, dan catat. Instrumen penelitian ini adalah tim peneliti. Hasil penelitian menunjukkan tiga representasi falsafah hidup Jawa, yaitu (a) tentang ketuhanan; (b) tentang sosial bermasyarakat dan kemanusiaan; dan (c) tentang alam sekitar.

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Kata kunci: falsafah Jawa; cerita rakyat; Ponorogo Marlina (Balai Bahasa Riau) Potret Matrilineal dalam “Rumah untuk Kemenakan Karya Iyut Fitra” Madah: Jurnal Bahasa dan Sastra, 9 (2), 2018, 245—256 Masyarakat Minangkabau merupakan salah satu suku di Indonesia yang memiliki sistem kekerabatan berdasarkan garis keturunan ibu. Sistem kekeraban seperti ini disebut dengan sistem kekerabatan matrilineal, salah satu ciri sistem kekerabatannya, laki-laki Minangkabau tidak memiliki hak atas tanah pusaka. Hal inilah yang diangkat Iyut Fitra dalam cerpennya yang berjudul “Rumah untuk Kemenakan”. Penelitian ini mencoba mengangkat dampak sistem kekerabatan matrilineal yang terdapat di dalam cerpen tersebut. Metode yang digunakan dalam penelitian ini adalah deskriptif-analitis. Sementara, untuk menganalisis cerpen digunakan teori sosiologi sastra. Dari hasil pembahasan dapat disimpulkan bahwa budaya matrilineal ternyata memberikan beberapa dampak kurang baik bagi masyarakat pemiliknya, seperti tidak adanya keadilan bagi kaum laki-laki menyangkut tanah pusaka dan hilangnya rasa kemanusiaan karena menjunjung tinggi adat. Kata kunci: sosiologi sastra; matrilineal; harta pusaka

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Psychological Condition of Richard Strickland in The Shape of Water Kondisi Kejiwaan Richard Strickland dalam The Shape of Water Alberta Natasia Adjia* and Azis Bilbargoyab* aMagister Kajian Sastra dan Budaya, Fakultas Ilmu Budaya, Universitas Airlangga

Jalan Dharmawangsa Dalam Selatan, Surabaya, Indonesia Pos-el: [email protected] bMagister Kajian Sastra dan Budaya, Fakultas Ilmu Budaya, Universitas Airlangga Jalan Dharmawangsa Dalam Selatan, Surabaya, Indonesia Pos-el: [email protected] Naskah diterima: 22 April 2018; direvisi: 25 September 2018; disetujui: 02 Oktober 2018 DOI: http://dx.doi.org/10.26499/madah.v9i2.746

Abstract This study strives to elucidate the psychological condition of Richard Strickland, the main antagonist in Guillermo Del Toro’s and Daniel Kraus’ novel The Shape of Water. This study uses the close-reading method and Sigmund Freud’s psychoanalysis in examining the psychological factors which trigger the three distinctive features of Richard Strickland, namely hate, disgust, and fear, that lead him to pick up destructive murderous habits. The results of data analysis indicate that (1) Strickland’s fear of intimacy has made him distant from his family and colleagues, preventing him from understanding them and instead triggering him to be too attached to General Hoyt’s influence, (2) Strickland’s low self-esteem has made him powerless to defy Hoyt’s authorities but made him feel justified to perform displacement, by torturing and harrassing “lesser” people and animals, and (3) Strickland’s unstable sense of self, rooted on his guilt of conducting violence, making him repress his psychological wounds and destroying his own life. Keywords: The Shape of Water, fear; unstable sense of self; low self-esteem; psychoanalysis

Abstrak Penelitian ini bertujuan untuk menguraikan kondisi kejiwaan Richard Strickland, tokoh antagonis utama dalam novel The Shape of Water karya Guillermo Del Toro dan Daniel Kraus. Penelitian ini menggunakan metode pembacaan cermat dan teori psikoanalisis dari Sigmund Freud dengan menelaah faktor-faktor psikologis yang memicu ketiga sifat utama Richard Strickland, yakni kebencian, rasa jijik, dan ketakutan yang mendorongnya melakukan kebiasaan-kebiasaan buruk. Simpulan dari penelitian ini ialah (1) ketakutan akan keintiman yang dialami Strickland membuatnya jauh, secara emosi, dari keluarga dan rekan-rekan kerjanya, yang mendorongnya untuk beralih mengabdikan diri sepenuhnya pada Jenderal Hoyt; (2) rasa rendah diri Strickland membuatnya segan menentang kebijakan-kebijakan brutal Hoyt, tetapi di sisi lain memicu Strickland untuk merasa berhak menyakiti hewan dan orang-orang yang berstatus sosial lebih rendah; dan (3) ketidakstabilan diri Strickland yang berakar dari rasa bersalahnya karena telah banyak membunuh yang membuatnya menekan luka-luka psikologisnya dan menghancurkan hidupnya. Kata kunci: The Shape of Water; ketakutan; ketidakstabilan diri; rasa rendah diri; psikoanalisis

1. Introduction The Cold War era is well-known as the state of geopolitical tension emerging after Word War II, around 1945 and 1989, between nations belonging to the East European Bloc (the Soviet Union and its satellite states) and those in the Western Bloc (America and NATO-allied countries). Although neither blocs waged direct large-scale fighting, each of them supported major regional wars, or called as proxy wars, which consisted of the race in sending the first man to outer space (Shaw, 2007:3). At that time, the politic upheaval was profoundly intact that every aspect about American art— values and perceptions, forms of expression, symbolic patterns, beliefs and myths—was heavily suppressed (Whitfield, 2006:269). The Stalinism totalitarian state of the Soviet Union had impacted on the American culture, eventually making it to be such a barren place for any kind of idealist creativity. Art was perceived illegitimate for its possibility to reveal or represent challenging ideas which could endanger the creator’s position—in many cases causing the authorities to question his/her national loyalty and political stand. Many citizens were deprived of their occupations because of the pressure of the Cold War (Whitfield, 2006:256). There have been numerous fictional works which are set in the Cold War era, namely Ian Fleming’s From Russia, With Love (1957), Richard Condon’s Manchurian Candidate (1959), Hergé’s The Calculus Affair (1956), Peter Schneider’s The Wall Jumper (1984), Ian McEwan’s The Innocent (1990), Don DeLillo’s Underworld (1997), Robert Littell’s Young Philby (2012) and many more (Kerridge, 2014, The Telegraph online). One of the latest novels set in the era is the novel adaptation of Guillermo Del Toro’s fantasy romance film The Shape of Water, which has won many critical film awards in the early 2018. The

novel is selected to be examined since it offers myriad issues of social humanities, particularly from the very diverse way of each of the prominent characters is represented, both in the film and the novelization. Guillermo Del Toro is a prominent and critically appraised Mexican film director, screenwriter, producer, and novelist specialised in dark fantasy theme, vampire superheroes, and science fiction monsters. As a young man, he studied at the Centro de Investigación y Estudios Cinematográficos, University of Guadalajara. His Spanish-language films are The Devil’s Backbone (2001) and Pan’s Labyrinth (2006) and his American films are Blade II (2002), Hellboy (2004), Hellboy II: The Golden Army (2008), Pacific Rim (2013), Crimson Peak (2015), and a computer-animated fantasy television series entitled Trollhunters (2016—present). His latest film, The Shape of Water (2017) won the Academy Award for Best Picture, Best Director, Best Production Design, and Best Original Score at the 90th Academy Awards and won a Golden Lion at the 74th Venice International Film Festival. It also won Best Director and Best Original Score at the 75th Golden Globe Awards, won three awards (including Best Director) at the 71st British Academy Film Awards and won four awards (two of them being Best Picture and Best Director) at the 23rd Critics’ Choice Awards. As well as making films, Del Toro has also written several novels, such as The Strain Trilogy, a vampire horror novel: The Strain (2009), The Fall (2010) and The Night Eternal (2011), in which he co-authored with Chuck Hogan. Together with Daniel Kraus, Del Toro has also written the novel version of The Shape of Water, published by Feiwel & Friends, New York, in 2018. Daniel Kraus is a novelist who was listed on Entertainment Weekly’s Top 10 Books of the Year for his notable work, The Death and Life of Zebulon Finch and has

166 Madah, Volume 9, Nomor 2, Edisi Oktober 2018: 165—178

won two Odyssey Awards for two other works. Kraus’ works have also received other literary awards, such as Library Guild Selections and Bram Stoker Nominees. The Shape of Water (2018) is a novel set in Baltimore, US, in 1962 at the height of the Cold War era between America and the Soviet. The protagonist, Elisa Esposito, is a mute woman who lives at an apartment above a cinema and during the days she works as a janitor at a secret government laboratory. One day, the lab welcomes a humanoid amphibian from a South American river, called by the Amazonian locals as Deus Brȃnquia, hauled off to Baltimore by Colonel Richard Strickland, so that the lab’s scientists can study it. However, soon General Frank Hoyt, Strickland’s superior, orders it to be vivisected instead. Having fallen in love with the creature, Elisa begins to visit it in secret and later asks for her friends’ help to bring the creature home and help him escape. On the verge of her struggle, she and the creature are shot by Strickland, who refuses to admit defeat that he has failed to take control his project. Surprisingly, Strickland is eventually killed by the creature, who has managed to heal himself. Later, the creature brings Elisa into the canal, heals her, gives her gills, and takes her to live with him underwater. Among all of the characters that are present in the book, one of the most influential characters in steering the plot of the story is Richard Strickland, the antagonist working as the colonel who supervises the Amphibian Man project in the secret governmental laboratory. From the very beginning of the book, Strickland is constantly potrayed as a troubled, abusive, threatening, harsh, cruel, controlling and a sexually molesting man to those who are beneath him. Strickland is always displayed as someone who would not hesitate to

perform dirty work in order to satisfy his ego as a military man or achieve his goals. Although he has repeatedly acted brutally to demean others, there are many moments in the book when Strickland is shown to be haunted by his murdering acts performed under the order of General Hoyt, his supervisor. Moreover, the book has also shown more details regarding Strickland’s personality than the movie does: there are times when Strickland has to reassure himself again and again that he is a capable man who is masculine and brave enough to face his challenges, leading him to molest women, kill animals at random and torture the humanoid amphibian. All of these traits are considered important in analysing what the actual psychological condition of Strickland is, given his flaws. There has not been any previous studies regarding The Shape of Water novel, but there have been some regarding Pan’s Labyrinth, such as its hypertextual and metatextual themes which coincide with Disney’s Alice in Wonderland (1951), MGM’s The Wizard of Oz (1939), Steven Spielberg’s Schindler’s List (1993), and Roberto Benigni’s Life is Beautiful (1997) (Kotecki, 2010: 243). Another related study is the representation of transnational violence toward children found in Del Toro’s El espinazo del diablo (2001), of how children were forced to witness every conduct of violence to testify, eventually leading to their traumatic literal and psychological wounds (Robinson, 2017: 202). The last is about myth, facism, theopolitical imagination and Jungian archetypal figures found in Del Toro’s Cronos, The Devil’s Backbone, and Pan’s Labyrinth which explores how these themes have been suffused with alchemical and Christian imageries (Sinclair, 2016:3). None of these studies has explored the psychological realm of The Shape of Water novel, therefore the work is selected to be examined further.

Alberta Natasia Adji and Azis Bilbargoya: Psychological Condition of Richard Strickland in The Shape Of Water

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Moving on to the psychoanalysis theory, according to Sigmund Freud, the impact of the rise of civilization is the repression of human instincts (Freud, 1973a:47). In a more detailed stance, Freud (1973a:47) stressed that anyone who wishes to have his or her way into the society has to repeat the sacrifice of the instinctual satisfaction for the sake of the entire community. Freud further underlined that the strongest drive to this psychological matter is the sexual instinct. Although the society or civilization has demanded that the sexual instinct has to be repressed to the point of sublimation, that kind of settlement does not work effectively since the sexual naturally can never be perfectly tamed (Storey, 2010:91). This is where Freud came across the two parts that belong to the psyche: the unconscious and the conscious. While the conscious refers to the aspects from the external world, the unconscious refers to the ‘container’ of repressed wishes and instinctual drives (Storey, 2010:91). Freud also added one more aspect, the preconscious, which refers to moments when a person is unable to remember something at a certain moment but can recall with some thinking effort (Storey, 2010:91). In the Freudian psyche, there are three terms that can be found within the psychological state: the ego, the superego, and the id. The most primitive of all, the id, is where every form of darkness, excitation and chaos abounds, and it is where the ego is created (Freud, 1984:362). In this sense, the ego develops; it cannot grow by itself, and the ego strives to have control over the id (Freud, 1973b: 106). If it is made into an analogy, the id represents the horse, which is full of energy, while the ego stands for the rider, who is in authority to choose and decide the movement of the horse. Therefore, the ego represents the logic that always reasons with the ego,

which is full of passion and desires (Freud, 1984:363). Meanwhile, the super-ego is closely linked to the Oedipus complex, being created out of the internalization or introjection of a child’s male parent, developing an authority. Later, this voice of authority is followed by other voices of authority, creating ‘conscience’ (Storey, 2010:92). The existence of the super-ego is aligned with the voice of culture, but it is closely linked with the id. Furthermore, it is clear to see that humans are born with an id, and that their egos are built via contact with culture. Thus, ‘human nature’ is actually governed by culture, something that is introduced from the external world (Storey, 2010:93). However, the psyche is considered to be the place of never-ending battle between the id and the ego. While the id wishes to satisfy the desire regardless of what the society thinks, the ego, sometimes aided by the super-ego, has to serve the norms and rules of culture. The perpetual conflict inside the psyche is also called as the fight between the ‘pleasure principle’ and the ‘reality principle’ (Storey, 2010:93). In Freudian psychoanalytic reading, we focus on the patterns of adolescent behavior that are destructive. The repetition of these disorders dysfunctions speak for psychological complication that has been impacting someone for some time, probably without the awareness of the person himself (Tyson, 2006:12). Lois Tyson (2006:12) stated that family plays a crucial key in psychoanalytic theory, since the first role that each person is assigned to comes from the family, eventually leading to the ‘birth’ of the unconscious. The kinds of early conflict that can emerge are: oedipal conflict, sibling rivalry, and the like. Against all of these destructive behaviors, we are consciously equipped to deal with them through building defenses, including selective perception (choosing things that


we think we are able to listen to and witness), selective memory (modifying our memories so that we will not be burdened by them anymore), denial (refusing to believe that the problems exist), avoidance (staying away from people or situations which tend to make us feel agitated), displacement (unleashing anger, frustation or disappointment to someone or something that is deemed less threatening than our ‘sources’ of pain, hurt, anger, or frustation), and projection (believing someone or something to be the cause of our sufferring or pain and later punishing them for it, refusing to admit that we possess it ourselves) (Tyson, 2006:15). Going further, in critical moments we might also undergo anxiety as our defenses fall in. Many forms of fear we feel will break out as such: fear of intimacy (the overwhelming feeling that emotional closeness will somehow break and hurt us, hence we try to draw the line from others to keep ourselves ‘safe’), fear of abandonment (haunted by the thought that one day everyone will leave us), fear of betrayal (the disturbing feeling that our close ones can never be fully trusted), low self-esteem (the belief that we do not deserve the best things that life has to offer), insecure or unstable sense of self (being unable to maintain a solid self identity and make us vulnerable to people’s opinions), and oedipal fixation (a flawed relationship with a parent of the opposite sex that remains broken until adulthood, disallowing us from creating mature relationships with close acquintances) (Tyson, 2006:16--17). Each piece of these fears represents our past ‘unfinished business’ or unresolved conflicts, with some are already too chronic to be consciously realized. In other extreme cases, we still unconsciously desire experiences we failed to receive or resolve in the past.

This article tries to answer two questions simultaneously: (1) the psychological condition of Richard Strickland, the villain who has caused so much sufferring and hurt to the humanoid amphibian, and later, the painful death of Hoffstetler and Elisa in Guillermo Del Toro and Daniel Krauss’ The Shape of Water novel, and (2) how Strickland’s psychological condition affects his relationships with others, whether they are his supervisor, subordinate or family member, thus determining the flow of the narrative. The novel was selected to be discussed from several reasons. First, until this article was written, both the movie and the novel adaptation were still of a novelty in the early 2018s (when it won numerous prestigious film awards, including the Oscars in 2018), and there has not been much discussion aimed at it, especially in terms of its memorable characters. Second, the study became significant since there have been the rise of the bullying phenomena, discrimination, and the degrading tolerance for difference among permanent citizens and immigrants in the US, which were proven by the winning of controversial President Donald Trump (a Republican) in 2016 as the 45th President of the United States, whose campaign was focused on strengthening the border between the US and Mexico, with the latter being the home country of the director and author of The Shape of Water, Guillermo Del Toro. Furthermore, what lurks behind Richard Strickland’s bullying and demeaning attitude can be seen and interpreted further for he symbolises the white supremacy that has been flawed in many ways. 2. Method The article elucidates the psychological condition of Colonel Richard Strickland, the main antagonist in Guilldermo Del Toro’s The Shape of


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Water (2018) novel. The character is selected out of others since Strickland proves to be the most problematic figure in the narrative, being haunted and heavily traumatized by his participation in the Korean War twelve years ago (1950-1953) under the supervision of abusive and sadistic General Frank Hoyt. The method of data collection is conducted through applying the closereading technique towards the words, phrases, figures of speech and quotes that underscore Richard Strickland’s hateful and fierce character traits found in the novel, especially those that clearly show his psychological condition. The collected data are later categorised according to the disorder dysfunctions and the defenses, two categories set up in the psychoanalysis theory in order to reveal the psychological condition of Richard Strickland. By using Sigmund Freud’s psychoanalysis theory, the article is focused on revealing Strickland’s three strongest emotional states, that are his hatred (toward many things or people deemed inferior to him), self-disgust (which leads to his obsession to cleanliness and hygiene), and fear (of the influence of General Hoyt and failure of aiding his project with the Amazonian creature). These three aspects are later discussed regarding their impact on other characters who have suffered the abuse of Richard Strickland, and what his actual psychological state is, which drives him to do so. 3. Results and Discussion One specific area of human behavior examined in The Shape of Water which gives crucial influences for psychoanalytic criticism is the prolonged violence performed by Richard Strickland under the influence of General Hoyt that causes other characters to suffer pain and agony. For some reasons, Strickland shares many similarities to Captain Vidal

from Pan’s Labyrinth. While Vidal is certainly the embodiment of tyrannical political authority, a ‘realist’ vision which reminds the world that history always leaves a painful mark in the world (Ward, 2014: 25), Strickland poses as the symbol of authoritarian patriarchal figure who is obsessed about his dominion over everything and everyone, especially those who are deemed lesser than himself (e.g. the Indians in the Amazon, the humanoid amphibian, the janitors, the scientists at Occam Aerospace Lab, his wife Lainie and his daughter Tammy). This stand is reinforced over and over as General Hoyt keeps on forcing Strickland to perform the “dirty work” (Del Toro and Kraus, 2018: 3) in any mission, doing the killing and torturing, making their work relationship as “a form of blackmail” (Del Toro and Kraus, 2018: 3). The interest created by the professional relationship between General Hoyt and Strickland lies not in its apparent violence but in the ways it stirs many relationships depicted—those between Strickland and Lainie, Strickland and Bob Hoffstetler, Strickland and Elisa, Strickland and Zelda, Strickland and the creature—and this reveals a pattern of psychological conduct accountable for a good deal of the narrative progression. This pattern is deeply rooted in Strickland’s insecure or unstable sense of self, low self-esteem, and fear of intimacy, which from time to time supersedes one another. As a soldier, Strickland has always been programmed to be strict, stiff, cold, and above all, masculine. Acting masculine, in the mainstream definition of patriarchal culture, means acting tough, repressing strong emotion, being fierce and never showing any sign of weakness. Indeed, Strickland “smothers his hate, disgust, and fear” since the three “give you away” (Del Toro and Kraus, 2018: 11). Years of doing training and war missions as a soldier does nothing but reinforces this principle over and


over, until it becomes Strickland’s biggest obsession, leading him to justify General Hoyt’s brutal influences on him. Therefore, Strickland is used to associate feeling emotions with being feminine— being coquettish—something that is profoundly intolerable in the eyes of patriarchal stand, thus affirmating his fear of intimacy with anybody, including his own family members. Yet, Strickland is an ordinary human being who is perfectly capable of feeling emotions but refrains himself from doing so. It is proven by the way he resents himself from being caught doing a ‘feminine’ activity whilst sailing on an Amazonian river to hunt for Deus Brȃnquia: Strickland is furious, not at the captain, but himself. What sort of soldier leaves his back exposed? Plus, he’s caught gazing at the moon. It’s feminine, something Lainie would do while asking him to hold her hand. (Del Toro and Kraus, 2018: 11) Strickland marah, bukan pada sang kapten, tetapi pada dirinya sendiri. Prajurit macam apa yang membiarkan kelemahannya terekspos? Parahnya, ia terpergok saat sedang memandangi bulan. Itu hal yang seharusnya dilakukan perempuan, sesuatu yang mungkin dilakukan Lainie sembari memintanya [Strickland] menggenggam tangan sang istri. Consciously, Strickland mocks the girly sides of his own wife Lainie, which he refers to being the total opposite to masculinity and superiority of a man. Thus, he immediately feels conflicted whenever any of this emotion comes up. Strickland’s ego as a senior soldier is

endangered; he believes himself to have mastered the role of a ‘perfect’ male embodiment but the results are embarrassing him. Strickland never expects that over the years of bottling up these ‘feminine’ emotions of him does not actually make them fade away; they leak out unaccidentally from time to time, and it happens more often than before. Hence, it is understandable that once the occassion presents itself to him, Strickland tries his best to suppress this through performing violent and brutal acts. Whilst hunting for the much soughtafter humanoid amphibian for about a year, Strickland listens to a local legend of a male pink boto dolphin, a shape-shifter, which can change into a charming beau who lures young women into the river. As Strickland feels the need to punish this ‘girly’ side of his, he naturally associates the tale of the pink boto dolphin with the childish fairy tale that are more familiar with children and women, those who cannot be associated with superior male power. That is why he feels the urge to ‘kill’ his feminine proclivity by performing displacement, which is shooting the pink dolphin with his gun, intending to break the coupling between his version of constructed masculinity and the unwanted feminine side: Fanciful tales don’t deserve to live. Harsh reality, that’s what Hoyt seeks and what Strickland must find if he hopes to get out of here alive. The dolphin’s shape becomes visible beneath the water. Strickland waits. He wants to look it in the eyes. He’ll be the one to deliver nightmares. He’ll be the one to drive the jungle insane. (Del Toro and Kraus, 2018: 12) Kisah-kisah dongeng tidak pantas ada. Kenyataan pahit, itulah yang dicari Hoyt dan yang


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harus ditemukan Strickland jika ia ingin keluar dari tempat ini hidup-hidup. Sosok lumba-lumba itu makin terlihat di air. Strickland menunggu. Ia ingin memandang hewan itu tepat di matanya. Ia akan menjadi orang yang mendatangkan malapetaka. Ia akan menjadi orang yang mengacaukan seisi hutan. As it has been viewed, because of his innate deep pride (or more likely, obsession) toward Western logocentric superiority (which is also has been ingrained for years under General Hoyt’s forcible influence), Strickland also strongly believes that this illusion justifies his cruelty and brutality toward others. For years, Strickland has been denying his sadistic acts toward the victims in the Korean War (which occurred twelve years earlier), and his sojourn in Amazon—being surrounded by the Indian locals, the jungle and its wild inhabitants and their endless screaming—has brought out the worst in him: his wronged conscience and guilt of the innocent lives he has taken. Strickland’s inner conflict of ego deals with the hard fact that, although he is a soldier who should always follow orders, nothing can validate his acts of killing mass of innocent lives under any circumstance. In his great distress, Strickland struggles to build defenses by repeatedly performing destructive behavior, that is, by randomly shooting, torturing and even consuming wild animals in the Amazonian jungle (referring them to the helpless Korean villager victims), only to be reminded of his own children back home: So Strickland starts firing. Monkeys fall like aguaje fruit, and men gasp in horror. This annoys Strickland. He advances

against a gut-shot monkey, machete raised. The soft-furred animal curls into a woeful ball, its hands pressed over its sobbing face. It is like a child. Like Timmy or Tammy. This is like slaughtering children. He flashes back to Korea. The children, the women. Is this what he’s become? The surviving monkeys scream in sorrow, and the sound pins into his skull. [...] The screaming, the screaming. Dinner is rubbery gray balls of monkey gristle. He doesn’t deserve to eat but does anyway. The screaming, the screaming. (Del Toro and Kraus, 2018: 20) Karenanya, Strickland mulai menembaki mereka. Kera-kera berjatuhan dari pohon seperti buah aguaje. Ini sangat mengganggu Strickland. Ia mendekati seekor kera yang perutnya tertembak, goloknya terangkat. Hewan berbulu lembut itu meringkuk seperti bola, kedua tangannya menutupi wajahnya yang menangis. Kera itu terlihat seperti anak kecil. Seperti Timmy atau Tammy. (Membunuh mereka) rasanya seperti membantai anak-anak. Ia teringat kembali saat perang di Korea. Anak-anaknya, para wanitanya (yang menjadi korban). Sekeji itukah sosoknya kini? Kera-kera yang masih hidup menjerit-jerit pilu, dan suara-suara itu membuat kepalanya berdenyut-denyut. [...] Jeritan, jeritan (terdengar terusmenerus). Mereka memasak bangkai-bangkai kera abu-abu itu untuk makan malam. Ia tidak pantas memakan mereka, tapi ia tetap melakukannya. Jeritan,


jeritan (terdengar menerus).

terus-

From this point, it is also quite easy to understand why Strickland is unerringly faithful but at the same time holds a deep grudge toward General Hoyt, whom he sees as an unforgiving superior as well as sadistic father figure. Strickland’s unquestionable attachment to Hoyt’s authority reveals his own insecurity and inner low self-esteem, of which Strickland has a good deal. He dreams of being free of Hoyt’s ghastly influence, finally free to be the good husband and father his family wants him to be. Instead, Strickland’s fear and loyalty to General Hoyt have conquered his mind, soul and almost all aspects of his life; Strickland even considers Hoyt to be the one who has haunted him day and night at the jungle. The only reason to this traumatic problem is that Strickland’s unstable sense of self (his old fear of intimacy and death) has created the blank space for General Hoyt’s overbearing influence to be completely absorbed before he can create or adapt to more sensible principles or personality. Unlike the rest of the characters in the novel who possess more physical limitations than him (Elisa being mute, Zelda being a black woman, Giles being a middle-aged homosexual, Deus Brȃnquia being the one tortured and captured, Hoffstetler being torn with his status as a secret agent to Soviet), Strickland (who is white, able-bodied, and a powerful soldier) is actually the most powerless figure in the narrative as he brings his ‘prison’ everywhere, in his mind. This is clearly reinforced in the quote below, as Strickland adopts another habit of displacement, which is chewing cheap, hard green candies as a stress-release method, a substitute to ease his own pain in having to carry on with Hoyt’s brutal plans:

Strickland survives the call only with the distraction of green hard candies. Generic label, synthetic taste, but the flavor is achingly concentrated, almost voltaic. [...] The crunch of the candy is loud. Despite thousands of miles of wire, Hoyt’s voice is even louder. As if he’d always been there in the jungle, observing Strickland from behind sticky fronds or veils of mosquitos. (Del Toro and Kraus, 2018: 26) Strickland berhasil mengendalikan diri di telepon dengan memusatkan perhatiannya mengunyah permen-permen hijau keras. Permen merk murah, buatan massal dari pabrik, tapi rasanya luar biasa pekat, nyaris seperti obat. [...] Suara kunyahan permennya terdengar keras. Walau berada ribuan mil dari tempatnya sekarang, suara Hoyt masih terdengar jauh lebih keras. Seolah sang jenderal mengikutinya ke hutan, mengawasi Strickland dari balik daun-daun palem atau kelambukelambu nyamuk. Still, Strickland’s paralyzed state of mind also emerges as an effect of the Cold War backdrop, as a string of unavoidable social, economic and political pressures generate many forms of threats. There are four types of threats that are exposed to the citizens during that era: physical (pain, injury, demise), economic (seizure or destruction of property, rejection of access to work or resources), threats to rights (imprisonment, denial of normal civil liberties), and threats to position and status (demotion, public humiliation) (Buzan, 2016: 50). All of these threats have certainly contributed to the social


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and political nuance in the daily lives of many Americans at that time, making them constantly feel constrained. Since many social activities were deemed suspicious to the ruling government, therefore people were prone to feel stressed and pressured most of the time. The tense and rigid situation of the era is perfectly potrayed by Richard Strickland, the man who suffers the direct mental implications of the Cold War the most. Indeed, it is ironical since Strickland has repeatedly affirmed his white supremacy above others, showing everyone how little they mean to him by menacing the scientists at Occam lab with profanities and demeaning the janitors and even his own wife. Strickland even carries around “an orange cattle prod” (Del Toro and Kraus, 2018: 51), an electric torturing device that he uses to “move the asset in or out of the pool” (Del Toro and Kraus, 2018: 60), which frightens both Elisa and Zelda when they see that there is “a fat, dark red drop of blood clinging to one of the two brass prongs” (Del Toro and Kraus, 2018: 60). It is indeed another proof that Strickland likes to be seen as an omnipotent figure who loves nothing more than showing off his power over any lesser being. Somehow, this is a reversed kind of logic to think so, since the act of flaunting power and dominance through demonstrating violence bespeaks one’s need to bolster chronic insecurities about one’s self rather than one’s intelligence or superiority. His low-esteem and lack of courage to defend himself against Hoyt’s orders and authority have contributed a great deal to all of his prolonged suffering as a distressed subordinate. It is no surprise that Strickland prefers to degrade and eradicate those who belong to the lower strata than himself. Even his own choice of newfound sexual interest in Elisa, a low-class, mute janitor and an orphan, reinforces this ego. This could only mean that Strickland has

unconsciously acknowledged the fact that though he might one day be finally free from Hoyt’s claws, he unconsciously believes that he will never be adequate to hold the same position and manage better missions. Strickland will perhaps end up repeating doing the similar dirty work, carried out by his future obedient subordinate so Strickland himself can repress his own guilt, and therefore repeating the same traumatic circle over and over. Or, in the worst case scenario, Strickland will probably remain to be a puppet to another military superior in the future because of his failure in dealing with his low self-esteem and his unresolved guilt. Furthermore, Strickland’s very frequent use and obsession with guns, harpoons, knives, machetes, military vehicles and electrical cattle prods is confirmed as the male imagery, that the weapons are phallic symbols functioned as tools to express his unconscious sexual agression and exploited identity. Later, as it has been mentioned earlier, Strickland gets his newfound attraction to Elisa for being a seemingly simple, mute girl who “can’t make a peep” (Del Toro and Kraus, 2018: 84), who is so much different from Lainie (whom he considers inadequate to take care of their family). He conducts a sexual harassment to Elisa, even making a sexual offer to her (to which she rebuffs by immediately escaping his office). Still, after a gruesome incident with the creature/the asset/Deus Brȃnquia at the totalitarian facility research of Occam, Strickland loses his two fingers as they are torn off by the creature’s fierce bite whilst being tortured. Although the fingers are later restitched again, it is obvious that the incident has metaphorically maimed the ‘dominant’ phallic symbols of Strickland, the fingers (both his ring and little fingers) that have been used to hold and pull gun triggers, flung a machete, hold a cattle prod, put on a wedding ring, and sexually molest Elisa.


Instead of being constantly privileged and free to walk away from his sins, Strickland has finally received the first fatal punishment of his brutal misconducts. His torn fingers and the failure of reattaching them later have served as a sign that Strickland has permanently failed to atone for his sins, making him continue perform his stubborn displacement toward everything. Interestingly, Strickland’s act of displacement triggers two other interrelated destructive aspects: his selfdisgust and craving for cleanliness. Upon realizing that he has got blood on his hands (from the human and animal victims he has brutally murdered), Strickland projects his fear and guilt to every tiny detail in his life, demanding each one of them to be spotless, neat, and tidy—a total opposite to his own messedup life. His one-year hunting trip in the jungle, the haunting images of blood, screaming, and dead bodies, recklessness in peeing and failure in making pleasant small talk with the female janitors are all ‘soiling’ and ‘dirtying’ his mind and soul. Since Strickland cannot be free from Hoyt’s orders and projects yet (as he is also too afraid to challenge Hoyt’s rank and authority), he cannot stop himself from feeling constantly deprived and frustrated all the time. Unconsciously, his stress is leaking out in continuous tiny misconducts as such: Strickland feels the hot creep of shame. The urine crawling across the slanted floor, it’s too much. [...] But it’s disgusting. Peeing on the ground, it’s what he did in the Amazon. Cleanliness is what he craves now, and here he is, literally pissing on it. (Del Toro and Kraus, 2018: 60)

Strickland merasakan wajahnya memanas karena malu. Tetesan urin itu mengalir merambat sepanjang lantai, ini keterlaluan. [...] Tapi sungguh menjijikkan. Membuang air kecil di tanah adalah kebiasaannya saat di Amazon. Kebersihan adalah yang dibutuhkannya saat ini, dan di sinilah dia, secara harafiah justru mengencingi lantai yang bersih (kebersihan itu sendiri). On some rare occassions, Strickland presents himself as a fair-minded man; he belongs to those who can appreciate and encourage differences in his own country, which is about the racial thing against the black people. Whilst interrogating Zelda and Elisa, he mentions his opinions about the black that they do have the same rights as the white in any aspect of the society. However, Strickland’s pride as a superior white man is reinforced in the way he refers to Zelda in a universal religious understanding that “’God looks human’”, only that his white race supremacy supersedes this as he later pompously claims that, “’Though let’s be honest. He looks a little bit more like me,’” (Del Toro and Kraus, 2018: 23). It is a strong indication that Strickland only wants to create a good impression on Elisa, whom he considers quite attractive, and not to truly intending to practice what he has preached, clearly still being a racist. His affectation of being an openminded man is clearly a sign of insecurity, of which Strickland definitely has a good deal. Worse, Strickland even strongly denies that as a civilized Westerner there is no way that he shares any tiny bit of resemblance to the captured humanoid amphibian: The idea that he and the asset share a light sensitivity enrages him. He’s no animal. He left his animal self in the Amazon. He


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had to if he had any hope of being a good husband, a good father. (Del Toro and Kraus, 2018: 86) Pikiran bahwa ia dan makhluk itu sama-sama memiliki sensitivitas yang mirip membuatnya marah. Ia bukan binatang. Ia telah meninggalkan sisi buasnya di Amazon. Ia harus melakukannya jika hendak menjadi seorang suami dan ayah yang baik. Once again, Strickland’s denial of his sensitivity—rooted in his fear of intimacy as well as having low self-esteem for years after being a heartless soldier in the military—prevents him from healing himself and rearranging his life. His resentment toward the lesser beings— the creature/the asset/Deus Brȃnquia in particular—makes him fail to reconnect to his surroundings and therefore fail to know himself well. By refusing to accept the hard fact that humans are not that much different from animals when it comes to their natural behavior and instinct, Strickland has put blinders on his own progress as an ever-growing human. Through drawing the line between himself and the lesser beings, Strickland is trapped in the kind of imaginary perception that he is an independent, civilized, unique individual rather than a product of a certain cultural society, raised with specific ideologies. His apparent refusal to recognize his natural similarities to others, given the fact that no human is truly distinct from the rest, confirms his desire for ego gratification. In this capacity, Strickland is indeed incapable of acquiring a stable sense of self since he refuses to accept and admit that he is a flawed human being, even far more defected than those whom he perceives inhabiting the lower strata than himself.

For further evidence, Strickland’s authority and power is put to test when he learns that the Amphibian Man has been stolen from the governmental laboratory, right under his nose. While he clearly seems to be on the rage about it, Strickland is actually repressing his fear and embarrassment since deep inside, he knows that such mistakes should never have occurred in the first place, given his rank, position, and influence. With such strong and careful surveillance and security that Strickland has set up, it is hard to imagine that anyone would ever succeed in taking the creature away, unless the whole act was orchestrated and helped by people from within the lab, who have secretly turned against him. Moreover, Strickland’s own strong belief (which is actually a logical fallacy), that being a high-ranked military man does automatically entitle him to gain anyone’s obedience and respect (his family at home, the creature, the scientists and the janitors at Occam Aerospace Lab) is clearly proven wrong. Those people are, indeed, capable of thinking for themselves and deciding what is best for them, which includes ‘robbing’ Strickland of his power by kidnapping the creature. Since Strickland is so used to filling his mind with denial of his own insecurities and reinforcing selfreassurance that he is indeed very qualified and superior to hold his current position at work, Strickland is blinded by the fact that he does not possess the same level of authority as General Hoyt’s and will never do so. The fact that it was Elisa, Zelda, Hoffstetler, and Gilles, people who are undoubtedly beneath him, who managed to trick him and take Deus Brȃnquia away from his claws, and hide the creature for some time, has surely shaken him to the core. Let alone feeling betrayed, Strickland finally learns that all of his torturing acts and degrading others has actually proven to be worthless; he has confirmed himself to be a fool in


sorting out his priorities. Instead of accepting and admitting his emotional flaws and working his way to improve them in regards to his relationship with others, Strickland is heavily obsessed with making himself look masculine, fierce, and superior to others, thus driving him to lose sight of what is truly important: standing up for what feels right, regardless of what others may think. This includes embracing his ‘feminine’ and ‘melancholic’ side, developing an understanding towards his wife, children, and subordinates at work, standing up to General Hoyt’s sadistic orders, making his own decisions on guarding the lives of others, and rewriting his principle of what it truly means to be powerful and in charge of authority. 4. Conclusion As it has been examined earlier, there are three dominant factors that have made Strickland the problematic man as he is today: his fear of intimacy, low self-esteem, and unstable sense of self. The relation and the function of Strickland’s id, ego, and super-ego has been shown quite clear from the beginning of the story. Richard Strickland tries to maintain his id, which is his desire to act more leniently and sweetly, to ‘let loose’, despite General Hoyt’s and the American society’s expectations of how a soldier may act. However, after bottling up all of his emotions inside, Strickland undergoes emotional leaks from time to time, resulting in his awkwardness and his will to perform torturing and murderous acts in order to cover it all up. Yet, when Strickland loses his two fingers because of his constant attack on the Amphibian Man, his ego starts to emerge as Strickland begins to harm others more but at the same time blames every bad accident that befalls him to a particular person, Bob Hoffstetler. However, when Strickland finds out that it was Elisa

Esposito’s idea to steal and hide the creature away, he becomes fully enraged, thus failing to utilize his super-ego. Indeed, Strickland has failed to synergize his three psyche aspects altogether. Furthermore, regarding Strickland’s dominant factors which drive him to be in his psychological condition in the novel, it is much more complicated since Strickland always tries his best to deny his emotional needs and instead focuses on displacing them all the time. For a start, his fear of intimacy prevents him from getting emotionally close to his own family and building sympathy for his colleagues. In order to show himself worthy of a military rank and a position in Occam Aerospace Lab, Strickland puts on an arrogant and sadistic act wherever he goes, making sure that anyone knows who is in power. Secondly, as Strickland has always had low self-esteem, he dares neither question nor challenge Hoyt’s authorities, forcing him to shoulder all of the emotional burden of his tasks alone. Strickland’s low self-esteem triggers him to attach himself completely to his harsh superior, General Hoyt, the only one who presents himself to Strickland as a man in charge of intelligence, power and authority—everything Strickland thinks to be worthy of recognition in the white male’s world. Third, being related to his guilt of murdering mass of innocent people and animals, Strickland naturally becomes a man with such unstable sense of self that he starts picking up repetitive destructive habits, his displacement, such as randomly torturing animals and harrassing women, eating green hard candies that wound his mouth, as well as cursing profanities to degrade others in numerous occassions. Supported by his fatal pride of white supremacy and logocentric ideals, from a psychological perspective, it is apparent that Strickland’s troubling psychological condition best illustrates the implicit outcome of repressing psychological


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