on Language, Literature and Mediaon Language, Literature and Media
Moh Zaimil Alivin, Miftahul Huda
ǡ Ǥ ȋʹͲͳͲȌǤ Doing Literary Criticism: Helping Students Engage with Challenging Texts. ǣǤ
ǡǤǤǡǡǤǤǡƬǡǤǤȋʹͲʹͲȌǤ
ȋȌ ǣ
ǤGEMA Online® Journal of Language Studiesǡ20ȋʹȌǤ
ǣȀȀǤǤȀͳͲǤͳͷȀǦʹͲʹͲǦʹͲͲʹǦͲͺ
ǡƬǡǤȋͳͻʹȌǤThe Sociology of Literature. ǣ
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ǡ ǤǤ ȋʹͲͲȌǤ Counseling the Gifted: In Search of Identity. ȋǤȌǤ
ǣȀȀǤ Ǥ Ȁ Ȁ ǤǤ
ǡ Ǥ ȋʹͲͲ͵ȌǤ Theories of Social Remembering. ǣ
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Radu, D. (2015). Multiculturalism, Identity and Family Ties in Elif Shafak’s
̶ Ǥ̶ Journal of Debates on Globalization:
Approaching National Identity through Intercultural Dialogue, 2ǡ ʹͺǦ ʹͺͻ
ǡ Ǥ ȋͳͻͻͲȌǤ Identity: community, culture, differenceǤ ǣ
ƬǤ
ǡǤȋʹͲͳͷȌǤThe Bastard of Istanbul. ǣǤ
mon, A. (2014). Mythology, Taboo, and Cultural Identity in Elif Shafak’s "The
." Academic Dispatches. 2ȋʹȌǤ
ǣȀȀ Ǥ Ȁ Ǧ ȀǦǦ ǦǦǦǦǦȀ
ǡǤȋͳͻ95) ‘‘La formation du sujet,’’ in Dubet and Wieviorka (eds), pp.
ʹͳ–ͶǤ
Waniek, I. (2014). Identity Issues in Elif Shafak’s "The Bastard of Istanbul."
Journal of Analele Universitatii Dimitrie Centemir, 2ǡͳ͵ʹǦͳ͵ͺǤ
ǤȋʹͲͳ͵ȌǤSosiologi Sastra. ǣǤ
COOPERATIVE PRINCIPLE IN NOVEL
“DRUPADI” BY SENO GUMIRA AJIDARMA:
GRICE’S PERSPECTIVE
Luthf Annisa, Nandang Nurdiansah, M. Anwar Masadi
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Abstract: This study discusses the flouting and violation of the cooperative principles in the novel "Drupadi" by Seno Gumira Ajidarma. The purpose of this study is to examine the utterances in the novel "Drupadi" by Seno Gumira Ajidarma those that apply and violate Grice’s cooperative principle (four maxims). The four maxims are the maxim of relation, the maxim of manner, the maxim of quality, and the maxim of quantity. This research collected data through the technique of reading and writing. The data analysis techniques are data reduction, data presentation, and conclusion. The results show that twelve words are included in the utterances that adhere to the cooperative principle.
Six expressions obey the relevance/relational maxim, one expression obey the maxim of manner, four obey the quality maxim, and one utterance obey the quantity maxim. The researcher also found speeches that violated the cooperative principle as many as three words. Two utterances violate the quality maxim, and one utterance violates the quantity maxim, no utterance violates the maxim of the relevance and maxim of the way.
Keywords: Cooperative principle, maxim flouting, maxim violation
INTRODUCTION
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Humanities across Histories and Trajectories in the Glocal Contexts Humanities across Histories and Trajectories in the Glocal Contexts
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on Language, Literature and Mediaon Language, Literature and Media
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LITERATURE REVIEW
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Humanities across Histories and Trajectories in the Glocal Contexts Humanities across Histories and Trajectories in the Glocal Contexts
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ȋǡ ʹͲͳͺǡ Ǥ ͶͶȌǤ
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ȋǡʹͲͳͺǡǤͶͷȌǤ
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on Language, Literature and Mediaon Language, Literature and Media
ȋǡʹͲͲͷǡǤͷ͵ȌǤ
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METHOD
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ʹͲͳͺǢǡʹͲͲͷǢ ǡʹͲͳͺȌǤ
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Humanities across Histories and Trajectories in the Glocal Contexts Humanities across Histories and Trajectories in the Glocal Contexts
FINDINGS
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ǣ“Kenapa hanya dalam mimpi kita bisa bersua, Kresna?”
ǣ “Kisahmu tidaklah menyatukan kita Dewi, tetapi itu bukanlah berarti kita tidak bisa berjumpa. Aku akan datang setiap kali dirimu membakar dupa. Bakarlah dupa yang wangi, maka aku akan datang dalam mimpi .”
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on Language, Literature and Mediaon Language, Literature and Media
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ǣ “Aku sudah jadi milikmu dalam mimpi kita bersama Dewi”
ǣ “Hanya dalam mimpi dan hanya dalam mimpi, Kresna?”ȋǡʹͲͳǡǤͳͳȌ
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ǣ“Bagaimana pendapatmu, Dewi?”
ǣ “Ibu Dewi yang Agung, hamba pasrah atas apa yang akan ditimpakan.”ȋǡʹͲͳǡǤʹͻȌ
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ǣ“Dursasana! Bedebah! Lepaskan aku! Jika tidak ingin Bima mencincangmu.”
ǣ “Huahahahaha! Seribu Bima pun tidak akan berdaya menolongmu sekarang! Huahahahaha!
Humanities across Histories and Trajectories in the Glocal Contexts Humanities across Histories and Trajectories in the Glocal Contexts
Drupadi yang malang! Huahahahaha!”
ȋǡʹͲͳǡǤͷͻȌ
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Ǥ̵
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ǣ “Apakah kiranya engkau yakin akan bisa mengeramas rambutmu ini dengan darah Dursasana?”
ǣ “Ya, tentu saja, kenapa tidak?” ȋǡ
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ǣ “Itulah puncak segala puncak, Yayi. Tempat meleburnya puncak jiwa dan puncak raga, hanya manusia sempurna bisa mnecapainya.”
ǣ “Aku tahu diriku tak sempurna. Tak mungkin aku mencapainya.”ȋǡʹͲͳǡǤͳʹȌ
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on Language, Literature and Mediaon Language, Literature and Media
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ȋǡʹͲͳͺǡǤͶͷȌǤ
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ǣ “Tunggu dulu, Karna yang perkasa! Tunggu!”
Karna takjadi melepaskan anak panah bermata berlian itu
ȋǡʹͲͳǡǤͳͷȌ
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ȋǡʹͲͳͺǡǤͶͳȌǤ
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Humanities across Histories and Trajectories in the Glocal Contexts Humanities across Histories and Trajectories in the Glocal Contexts
ǣ “Kresna, mengapa dikau tidak melamarku?
Ayahku pasti akan menerima dirimu.”
ǣ “Itu tidak akan terjadi Dewi, dikau akan bersuamikan orang lain.” ȋǡ ʹͲͳǡ Ǥ
ͳͳȌ
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Ǥ̵
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ǣ “Aku inginkan dirimu Kresna.”
ǣ “Aku sudah jadi milikmu dalam mimpi kita bersama Dewi.”
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ǣ “Itulah persembahanku kepadamu, Putri.
Bolehkah kiranya aku mengikuti sayembara?”
ǣ “Tiada larangan bagimu o brahmana muda.”
ȋǡʹͲͳǡǤͳͺȌ
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on Language, Literature and Mediaon Language, Literature and Media
: “Oh, maafkalah aku, Karna aku tiada bermaksud menghinamu, tapi aku takmungkin menikah denganmu. Ini memang tidak adil untukmu, tapi biarlah nanti kutebus dosaku.
Bukankaha ku boleh mennetukan nasibku sendiri, dengan caraku sendiri?”
: “Apa yang terjadi, Sang Putri? Tidakkah dikau percaya aku seorang ksatria?”
: “Tidak ada yang meragukan kesaktianmu Karna, tapi siapakah kamu Karna? Dirimu bukan putra istana, dikau anak pungut kusir dan asal-usulmu tiada jelas pula
: “Oh, terlalu sekali budimu, Dewi. Tiada kusangka masih bise membeda-bedakan ...”
ȋǡʹͲͳǡǤͳȌ
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ȋǡ ʹͲͳͺǡ Ǥ Ͷ͵ȌǤ
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ǣ “Janganlah meninggalkannya dengan penyesalan, Drupadi, segalanya memang harus ditinggalkan.”
ǣ“Aku tahu, Yudhistira, aku hanya menatapnya.”
Humanities across Histories and Trajectories in the Glocal Contexts Humanities across Histories and Trajectories in the Glocal Contexts
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: “Kresna, Kresna, siapakah dikau Kresna?”
ǣ “Itulah pertanyaan setiap manusia, Dewi, siapakah diriku.”
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CONCLUSION
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on Language, Literature and Mediaon Language, Literature and Media
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ǡǤǤȋʹͲͳͶȌǤPragmatikǤǣǤ
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