Chapter II Formalism

II.1 The
Based on mediasastra.com / book / export / html, formalism is a way the works of literature that is focused on form rather than content. Theory formalis concentrate more on the discussion of the features of text, especially properties of the language used and the context of the creation of context receive.
While referring to the book with Literary Theory organizers Drs. Elmustian Rahman, MA, and Drs. Abdul Jalil, M. Pd. Formalism is that the flow of literary criticism to the sound patterns and words of formal (traditional) (2004:199).
So if we take the conclusion formalist literary criticism is that the paper holds that the literature has the form and structure, therefore, the paper examined the literature as something that has its own structure
Russia's most prominent formalism in this flow, the flow of criticism of literature, who was born in Russia 1920's a group of teoritisi the call himself Opayaz (Obščcestvo izučenija poetičeskogo jazyka), which means, Society for the Study poetic language. Russian formalism was deemed donated a number of important thoughts and ideas for the development of studies and research literature. Some people even assume, that ideas be formalis is peletak the basic theory of modern literature. Victor Shklovsky, Boris Eichenbaum, Roman Jakobson, and Leo Jakubinsky, is some teoritisi joined in it. With the "formal methods", which was then developed, the form of studies and research literature circles formalis was so influential in Russia around the year 1914 to 1930-an.
Formalis birth due to dissatisfaction ekspresivisme research on the biographical data. Formalism also works against literature as a living expression of the views or feelings of the community climate. Characteristic of the formalis in the studies do not always agree the distinction between form and content. According to the form and content they can didekati from the function, namely the function which will be estetik literature works. Initially, the author of the raw material, a new cookbook to be processed after the aesthetic. Processed it will show that each element of the form and content of a particular function. Aspects of scholarly, formalism is often considered the most prominent. Both regarded as milestones scientifics research literature. Therefore, through the device structure literature works akan built a wholeness of meaning that meet the standards of science.
Boris Eichenbaum provide relief, the formalis dipersatukan by the idea to free from restraint diksi puitik intellectualism and moralisme the diperjuangkan and the obsession to be symbolic. They tried to refute the principles of aesthetics are subjective supported the symbolic (which relies on the theory-theory Potebnya Alexander, a Russian filologis affected Willhelm von Humboldt) by directing the study on a scientific investigation that is objectively consider the facts. On the side of this, the fruit of thought and ideas formalis can not be released from the existence of the Russian poet Futuris emergence of his works are a reaction to make resistance to the symbolic poetika it.
II.2 Principles Theory formalism Russia
Principles that underlie the study formalis not dititikberatkan on, "learn how literature"; but more refers to "what is actually a core issue (subject matter) from the study of literature itself." For the formalis, as Jakobson be, "the object knowledge literature is not the (sound) literature (an), but kesastraannya (literariness)-namely that the paper can make a paper called the literature. "Meanwhile, on the other hand, Eichenbaum explains that the characteristics of (a job) is just the formalis trying to develop the study of literature independently, that further study is devoted to the materials kesastraan (literary material); only recommend them to identify the facts that are theoretical in the art of literature. In this case, the ideas and principles (of course) the formalis are directed to go on a general theory of aesthetics.
Thus, the actual start formalis try to release the study of literature from other things that stand outside of himself. They saw literature as an autonomous entity; (only) a "poetika". With the characteristics which they call gerakannya try to regenerate a new passion for scientific positivism, they reject any form of interpretation in the works of sasra associated with the philosophical assumptions, psychological, aesthetic, and others. For them, art should be considered separate from the aesthetic and philosophical theories ideological. Therefore, they prefer to put (an object) the study of literature specifically the existence can also distinguishable from the object other sciences.
Proximity formal method that initiated the formalis the existence of knowledge is only with the linguistic. This can be possible because linguistics is a science that touch (directly) with the "poetika" which is the point of attention (object) study them. Nevertheless, this is indeed the formalis can be said from the perspective of linguistic approach and a different problem. This is visible from at least their interest in the relevance of linguistics to language which is the articulation of the literature. In this case, the formalis the linguistic components that are available in language (phonetics, morpheme, syntax, and sematik; so also is the case with ritma, Rima, dimension, acoustic / noise, aliterasi, asonansi, dls.) As long as it is used (by the author) as a means to achieve "artistic" (for the effects estetik). Attention to the words nonsens in the works of Russian poet futuris as analyzed by Shklovsky, for example, could be appointed as an example in relation to the problem.
Issues related to language problems, have been basically be the formalis by when they see the need to distinguish the variety (the) language. Here they have to distinguish between language multiformity puitik with practical language / prose (Jakubinsky) and multiformity puitik language to language emotif / emotional (Jakobson). In their view, the distinction becomes very important because each multiformity (the) language and it has to provide context / purpose, function, value, and law-ruling its own.
Ideas with regard to the form (form) and content (content) that be the start formalis eliminate traditional views that see the form of simply just "packages" to the content. For the formalis, the form is complete, concrete, dynamic, and stand on its own. The formalis supervise understand that the form of "meaning" also, if the form was changed, the content is automatically changed. In other words, this aspect of the content will be mendeterminasi.
Further correlation of the interest on formalis aspect of this is the idea of the technique. In this case the formalis holds that perception is the result of the operation of the artistic techniques that special force readers to consider the presence of these forms. In addition to artistic needs, in view of the existence of formalis techniques are needed to make the object (which has been described) "difficult to recognize," does not make it common, and extend the perception (of readers) because the process of aesthetic perception is the end in itself and must be expanded.
Theory about the plot and fiction have also noted that as the idea that be important enough by the formalis. Construction plot to be the subject of the basic plot formalis since the store is found in the specific narrative art. In the analysis, Shklovsky indicate the presence of special means "construction of plot" and the relationship of public facilities in various stilistik diversity of materials, which then disebutnya as skaz. In connection with this problem at once remove Shklovsky view previous plot that looked as synonyms of the story (story). For Shklovsky, the story is just to formulate the plot, while the plot itself as occupying the position structure.
In further developments, the formalis start a glance at the problem of literary history and literature. Changes in the region they study the history of literature is not a simple expansion; it resulted from the development of the concept of their subject. They find that they can not see the works of literature in isolation; forms must be viewed with a background other than through the paper in the form itself. Meanwhile, in a study in the history of literature that they presumably remain in the karakteristinya to decrease the conclusion not only historical, but also theoretical conclusion; they put new theoretical problems as well as for the old test.
The formalis learn the literature so far concerning the issues that deepens a character with a special retaining independence, apart from the other culture. They still limit specifically on the facts that are considered feasible, and as far as possible try not to enter the region that does not culminate in the ¬-karespondensi and relationships that are not limited to those-who, it shall not be used to explain the development of literature . They are not to remain consistent with regard to the question biography and psychology (the author)-that for them it is considered very serious and complex. They are only interested in the development of the problem itself, the dynamics of the literary form, as far as it is possible to be able diobservasi through the facts of the past. For them, the focus of the historical development of literature is without personalitas-study literature as a social phenomenon that own
A number of ideas that by the formalis be, in some cases still be seen-kelemahannya show weakness. At least this note by Leon Trotsky. Although Trotsky admitted that the ideas proposed by the formalis store is rated important, but the formalis the Trotsky as a group that arogan and not cooked. Trotsky's view of materialism-Marxis perspective, essentially the idea that the rate formalis completely ignore the social complexity which is the basis of energy creation, and the work of the present environment in the middle of communities. With the dialectics materialistiknya, Trotsky from the perspective that the historical-objective art is always a role as a social servant and wholesome in its history. On the side of this, Trotsky look if the formalis probably only shows faith in the "kesaktian words", so can not take the idea on the subject of art is a logical conclusion, they only show that the process of creation puitik seems to have been enough just to discuss the combination sounds and series of words, which in turn can be resolved to solve it through a "formulation puitik" as the combination and permutation algebra.
II.3 The Theory of Work
Technical center formalis the demand to treat them as a literary language that is characteristic of the deviation reaches perwujudannya through language and distorsidari "practical". Language is used for practical communication behavior, while bahsa literature does not have any practical function at all and really mebuat we melihaatnya differently. The tools identify formalis "literary" with kepuitisan, that does not have an intrinsic language literature. Which distinguishes literary language from the "practical" is a quality that dibangunnya. Poetry formalis treated by the use of language as a menginti literature: poetry is "the order of them opted tuturan overall texture of the sound." Pembangunnya factor is most important is the rhythm
The formalis emphasize two concepts in the research literature, namely: first, the concept defamiliarisasi and deotomatisasi. Defamiliarisasi context is the nature of literature that is strange or foreign. Bizarre as a result of the author's sleight of material neutral. The authors have the freedom to turn a literary text with the atmosphere is very different indeed. As a result, the text can be difficult to recognize because the use of a specific language (text lost deotomatisasi).
There are two functions that are important defamiliarisasi. First, the means are mengiluminasi conventions of social and linguistic. Its function is to stimulate readers to be critical and viewing them in a new way. Second, the means to play a role in attention to the form itself. means, it means forcing the reader to ignore the social ramifikasi by directing attention to the process as an element defamiliarisasi art. (Sayuti, 2005: 4).
This can be seen clearly in an essay written by one of the leading New Critic, Cleanth Brooks, titled "formalis critics." Brook to begin with some basic statements that dianutnya: "literary criticism that it is pemerian assessment or an object"; "the attention that the main criticism was related to integrity issues, the integrity of a successful or failed by literature works, and the relationship between the one with the other in a wholeness ";" The work of literature in the works, the form and content can not be separated ";" that form the content. "
Brook esainya then close with the following statement: "have a lot of literature 'functionality' and make use of the new critics, some of them were interesting. But all of functionality derived from the literature that ultimately depends on our knowledge on what "meaning" a work of literature. Knowledge is very basic.
Analysis formalis, put more emphasis on the hypothetical-hypothetical that has been built before. The focus is on the analysis of effects produced by aesthetic means of literature, and how kesastraan and be associated with the extra literature. In this regard, be understood as a means of aesthetic expression of ideas in the form of a human being to specific.
Formalism in the research, only research emphasis in the story (fabula), flow (sjuzet), and motif (Fokkem & Kunne-Ibsch via Endraswara, 2004: 48). The difference between "story" with the "flow" given a significant place in the theory of narrative formalis Russian. They stressed that only "flow" (sjuzet) who really are literary, while the "story" (fabula) is just the raw material awaiting processing of the author. While the "motif" according to Boris Tomashevsky is the smallest unit flow. According to Boris "motif divided into" motif bound "motif that is required is the story and the" free patterns "which means that no aspect essensial be reviewed from the point of view the story.
II.4 Example of Russian formalism
On this paper, will be exposed links between Russian formalism and novels cuffs. Carcans novel itself is one of the novel in the new era poet who works Armijn Pane including works fenomenal and can enchant readers because the story is very interesting to read.
Kethui we're together, that dititikberatkan the formalism is the aspect of Russian language. Language which are by Armijn carcans Pane in this novel is very unique. Shows characteristics of pure literature. So readers can read the paper that this is indeed the literature. Language that is not too basic and not too informal. The language used is very beautiful indeed, and characterize the literature. Moreover, with poems that also enrich the paper.
For example when the figure Armijn Pane dianalogikan comparison with the temperament and Tini Yah that are on the page 67 that read:
Yah, there is no dark, no hidden, is of the broad, sunlit, the casual, no goods teralang by something as well. Tini dark, closed-door life, dikuncinya, thought the conclusion that live hidden in himself. Tini volcanoes that many fad!
Such as speech or Kartono of Yah on page 93 that actually penetrate to the very soul. "Ah, Well, do people who know the song in my heart?" And "Maksudku, .. maksudku, tahukan we base our own hearts, what menalun, voice, crying in our hearts the soul? "
Adapula attached in the language of words figure in the novel that describes the emotions that Hartono's very strong tokohnya that were presented on page 115 namely "forget, matikanlah chimera. Carcans deliver this. Why rely on the days of old. " And also the emotional Tini "Try angan imagined, soul swing! Mari tuan-tuan, madam, madam, here is the soul swing! "
In this novel carcans Armijn Pane also successfully describe your heartstrings Tini figure that is also very touching and can be deciphered by the reader that there are paparannya on page 136: Haru blue that is in the heart is missing altogether. Fetters that bind the enthusiasm has been released. Enthusiasm in the face with bright eyes sweep the street akan ditempuhnya.
Poems that are by Armijn very Pane also enrich this novel. Language of poetry that touches the very heart of readers can also menghipnotis.
Prose after the example we will give examples of poems Eka Budianta:
Only To River
Suddenly remember that the river sea
River which is not allowed to go to sea, where the river flows is prohibited there?
he was angry, yelling, overflow, flooding the houses, luxury
Nature is pale menatapnya
The sky is crying sederas-derasnya
Only the river for you to cry, I know, I feel in the morning when the gray rain over the city, when the lamp awake
Poet and prepare the heart for all that happens, when the rivers do not reach the marine
Before entering in discussing further, because this is a formalis analysis, then find one thing that dominates this poem. He is the river and then persepsikan rivers as water, rivers menggingat still very wide.
Formalism in the research, only research emphasis in the story (fabula), flow (sjuzet), and motif (Fokkem & Kunne-Ibsch via Endraswara, 2004: 48). When examined according to the specs of a formalis, poems above also contains the elements that it is said by Fokkem and Kunne-Ibsch.
Travel 'Water' was when the sea remind himself, when he was still in the rivers. As a sentence opener in puisinya that, "Suddenly the water remember the sea." However, the way it should have some constraints, in this case the poet, describes the obstacles that must be faced up to the water to the sea. And obstacles, as ulah man. In kodratnya, water the earth, this experience should be a hydrological cycle, which they will be the vapor, clouds, then rain down kebumi and ditampung land and river, and then flow to the sea is free to go back into steam.
In poetry, the water can not flow to the sea as man has cast a belly-tank, the factory makes the river dry up, exploit natural resources in the river, so that rivers can not be 'street' sea water to be separated. This then lead to the occurrence of various natural disasters, as a result of their terganggunya cycle.
It was like in the sentence, which the river flows is prohibited there? / / He angry / cry / overflow / overrun luxury homes / /. Perhaps because of this cycle of God be destroyed and the people, then angry and then God, as is implied in this sentence, any natural pale menatapnya / / sky crying sederas-derasnya / /. As a result, God sends a disaster for mankind is insistently.
Poet seems to feel guilty over the damage that he and human timbulkan against the existence of water in rivers. The poet later wrote, only for you to cry a river / I know / I feel in the morning when the gray rain over the city / lamp when awake. Poet feels responsible to restore everything as usual, because he is a poet, he will write poetry that touches the moral readers. Poet and prepare the heart for all that happens / when the rivers do not reach the marine / /.