An analysis on structure in O Amuk Kapak poetry by Sutardji Calzoum Bachri

ABSTRACT

Literature is a unique subject to be studied because studying literature will cover emotion, imagination, feeling, creativity, as well as the knowledge. There are many elements of poetry analysis, they are rhythm, rhyme, diction, imagery and figurative language. On the other hand, there are some approaches used to understand poems. They are structuralism approach, semiotic approach, and gestalt approach. This research is focused on structuralism approach in O, Amuk, Kapak poetry by Sutardji Calzoum Bahcri. Structuralism approach is a method to analyze how the poem describes the surface and deep structure.

The focus of this research is formulated into some research problems: how are structure used in the O, Amuk, Kapak poems?; and what kinds of structure are used in the O, Amuk, Kapak poems?. Because the subject of this research is poem, the researcher uses objective approach and the one of its approach is structuralism.

The researcher uses qualitative research design. Qualitative research is descriptive which the researcher is interesting in process, meaning and understanding of language gained through words or pictures. Comprehension of poem intrinsic structuralism approach catches with the two aspects; contents aspect (deep structure) and method of poem (surface structure). Contents aspect is covered by theme, sense, tone, subject matter, and intention. Whereas method of poem is developed by diction, grammatical, semantic, discourse structure, versivication, and typography (Reaske: 1996).

O, Amuk, Kapak is chosen for some reasons. Firstly; it presents poems related to life and religious philosophy. Secondly; it shows its freedom of words, it means turn word to origins. The first is word and it is magical formula. Thus poems of the O, Amuk, Kapak poetry turn back the word into magical formula.
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From the data analysis, the researcher found 20 deep structures and 16 surface structures from five poems (Tragedi winka & sihka, Mantera, Walau, Hemat, Kapak). There are 4 surface structures: (1). Diction: 2 denotations and 4 connotations, (2). Figurative language: 4 metaphors, (3). 3 imageries: visual, move, and audio imagery, (4).1 typography and 4 deep structures: (1). 1 theme, (2). 1 sense, (3). 1 tone, (4). 1 message in Tragedi winka & sihka poems. There are 3 surface structures: (1). Diction: 4 denotations and 4 connotations, (2). Figurative language: 8

simile, (3). 1 imagery, and 4 deep structures: (1). 1 theme,(2). 1 sense, (3). 1 tone, (4). 1 message in Mantera poems. There are 3 surface structures: (1). Diction: 4 denotations and 4 connotations, (2). Figurative language: 2 similes and 3 personifications, (3). 1 imagery and 4 deep structures: (1). 1 theme, (2). 1 sense, (3). 1 tone, (4). 1 message in Walau poems. There are 3 surface structures: (1). Diction: 2 denotations and 4 connotations, (2). Figurative language: 3 metaphors, 2 metonymies, (3). 3 imageries and 4 deep structures: (1). 1 theme, (2). 1 sense, (3). 1 tone, (4). 1 message in Hemat poems. There are 3 surface structures: (1). Diction: 3 denotations and 2 connotations, (2). Figurative language: 2 synecdoche’s and 3 metonymies, (3). 5 imageries and 4 deep structures: (1). 1 theme, (2). 1 sense, (3). 1 tone, (4). 1 message in O Amuk Kapak poems. Further more, the researcher suggested to the others who want to analyze this subject to develop it in different problems of the study or analyze the others approaches.