A COMPARATIVE STUDY OF LANGUAGE, POWER AND IDEOLOGY IN INSERT INVESTIGASI AND SILET INFOTAINMENT PROGRAMS A STUDY OF CRITICAL DISCOURSE

ANALYSIS

THESIS

Presented to Brawijaya University in partial fulfillment of the requirements for the degree of Sarjana Sastra

BY IKMI NUR OKTAVIANTI NIM 0410330017

BRAWIJAYA UNIVERSITY ENGLISH DEPARTMENT 2008

This is to certify that the Sarjana thesis of IKMI NUR OKTAVIANTI has been approved by the Board of Advisors

Malang, 26 August 2008 Advisor I

Dra. Sri Endah Tabiati, M.Ed NIP. 130 890 046

Malang, 26 August 2008 Advisor II

Isti Purwaningtyas, SS, MPd NIP. 132 311 633

This is to certify that the Sarjana thesis of IKMI NUR OKTAVIANTI has been approved by the Board of Examiners as one of the requirements for the degree of Sarjana Sastra

Dra. Sri Endah Tabiati, M.Ed, Chair NIP. 130 890 046

Isti Purwaningtyas, SS, MPd, Member NIP. 132 311 633

Nurul Chojimah, MPd, Member

Acknowledged by, Head of English Department

Sighted by, Head of Language and Literature Program

Fatimah, M.Appl.Ling. NIP. 132 300 037

Dra. Francien H. Tomasowa, Ph.D. NIP. 130 802 240

ABSTRACT Oktavianti, Ikmi Nur. 2008. A Comparative Study of Language, Power and Ideology in Insert Investigasi and Silet Infotainment Programs, A Study of Critical Discourse Analysis. Advisors are (1) Dra. Sri Endah Tabiati, M.Ed, and (2) Isti Purwaningtyas, SS, MPd Key words: Discourse, Construction, Perspective, Infotainment Program, Language Features, Power, Ideology The research is concerned with A Comparative Study of Language, Power and Ideology in Insert Investigasi and Silet Infotainment Program. There are two problems in this research, they are; language features occur in Insert Investigasi and Silet infotainment program and the way of those language features shape the text, involving the power and ideology of infotainment programs. The gossip broadcast by infotainment program is included as a discourse. Considering that every discourse is never neutral, then, the discourse produced by infotainment program can not be accepted as a mere text. There are internal and external factors which affect the perspective of the gossip. Since news is not the reality itself, but the construction of reality, thus, there will always be some versions of reality (event). Certain version will lead to certain perspective. The discourse (text) uses language as the medium to construct the reality into news. The use of language in media, in this case is infotainment program, is quite different with the language used in daily interaction. It has imbalanced relationship between the addressee and the addresser. The imbalanced relationship leads to the occurrence of power, in which by having power, the certain version of reality can be delivered to the viewer of infotainment program. This research is intended to produce the elaboration of social struggle of a text, or in other words, to find out the relationship of language, power and ideology in shaping certain perspective of a text. Here, the text is the gossip of Dewi Perssik, thus, this study will figure out how those elements (language, power and ideology) shape the gossip. Each infotainment program may have its own versions in constructing the gossip (perspective). The result of this study proved that there are different messages in the gossip broadcast between Silet and Insert Investigasi infotainment programs. They are represented in the language features such as metaphors, dictions, cohesive devices and sentences structure (grammar). Those language features, in progress, are affected by the occurrence of power and different ideology between Silet and Insert Investigasi. The power is in the form of power of situation, power of viewer and power of culture (social-culture). While, there are different writers (producers) between Silet and Insert Investigasi which cause different perspective in shaping the text. The relationship among language, power and ideology are dependent and can not be separated because language has power and language embodies certain ideology, and by having power, the ideology can be delivered.

In conclusion, the gossip of Dewi Perssik should not be considered as only a text or usual gossip. A text must have its own struggling process internally and externally, also the gossip of Dewi Perssik. There must be different perspective resulted in the broadcasting of the gossip itself between the gossip in Silet and the gossip in Insert Investigasi. Those perspectives may be able to influence the viewers to think the same way as the writer of the text (gossip). Then, the delivery of the ideology has been done by leading the viewer into certain perspective.

ABSTRAK Oktavianti, Ikmi Nur. 2008. A Comparative Study of Language, Power and Ideology in Insert Investigasi and Silet Infotainment Programs, A Study of Critical Discourse Analysis. Pembimbing: (1) Dra. Sri Endah Tabiati, M.Ed dan (2) Isti Purwaningtyas, SS, MPd Kata Kunci: Wacana, Konstruksi, Perspektif, Tayangan Infotainmen, Gosip, Fiturfitur Bahasa, Kekuasaan, Ideologi Penelitian ini membahas Studi Perbandingan atas Bahasa, Kekuasaan dan Ideologi di Tayangan Infotainmen Insert Investigasi dan Silet. Dua masalah penelitiannya yaitu: fitur-fitur bahasa yang ada dalam tayangan infotainmen Insert Investigasi dan Silet dan bagaimana fitur bahasa tersebut membentuk teks, melibatkan kekuasaan dan bahasa dari tayangan infotainmen. Gosip yang ditayangkan oleh tayangan infotainmen dapat disebut sebagai wacana. Mengingat bahwa tidak ada wacana yang netral, maka, wacana yang dihasilkan oleh tayangan infotainmen tidak dapat dipandang hanya sebagai teks. Ada faktor internal dan eksternal yang mempengaruhi perspektif dari suatu gosip. Karena berita bukan merupakan realita itu sendiri, melainkan konstruksi dari realita, oleh sebab itu, akan selalu ada versi yang berbeda dari realita itu. Versi tertentu akan mengarah pada perspektif tertentu pula. Wacana (teks) menggunakan bahasa sebagai media untuk menyusun realita hingga menjadi berita. Penggunaan bahasa di media, dalam hal ini tayangan infotainmen, cukup berbeda dengan penggunaan bahasa dalam interaksi sehari-hari. Penggunaan bahasa dalam media memiliki hubungan yang tidak seimbang diantara penyampai dan penerima. Ketidakseimbangan tersebut mengarah pada kemunculan kekuasaan, dimana dengan memiliki kekuasaan, versi tertentu dari realita dapat disampaikan pada pemirsa tayangan infotainmen. Penelitian ini bertujuan untuk menjabarkan pergolakan social dari suatu teks, atau dengan kata lain, untuk mencari tahu hubungan antara bahasa, kekuasaan dan ideology dalam membentuk perspektif tertentu atas suatu teks. Dalam hal ini, teks yand dianalisa adalah gosip Dewi Perssik, oleh karena itu, penelitian ini mencari tahu bagaimana elemen-elemen tersebut (bahasa, kekuasaan dan ideologi) membentuk gosip. Tiap tayangan infotainmen dapat memiliki versi mereka sendiri dalam menyusun gosip (pespektif). Hasil penelitian ini membuktikan bahwa terdapat pesan yang berbeda dalam gossip yang disiarkan oleh tayangan infotainmen Silet dan Insert Investigasi. Hal ini diwakili oleh fitur-fitur bahasa seperti halnya metaphor, diksi, piranti kohesi dan struktur kalimat (tata bahasa). Fitur-fitur bahasa itu, dalam perkembangannya, dipengaruhi oleh kemunculan kekuasaan dan ideologi yang berbeda antara Silet dan Insert Investigasi. Kekuasaan yang dimaksud merupakan kekuasaan dalam bentuk situasi, kekuasaan pemirsa dan kekuasaan budaya (sosial budaya). Sementara itu, terdapat penulis yang berbeda antara Silet dan Insert Investigasi, yang menyebabkan

pada perbedaan perspektif dalam menyusun teks. Hubungan antara bahasa, kekuasaan dan ideologi mempunyai saling ketergantungan dan tidak bisa dipisahkan karena bahasa memiliki kekuasaan dan bahasa mengandung idieologi tertentu, dan dengan memiliki kekuasaan, ideologi dapat disampaikan. Kesimpulannya, gosip Dewi Perssik sebaiknya tidak dipandang hanya sebagai teks atau gossip biasa. Suatu teks pasti memiliki proses pergolakan secara internal dan eksternal, demikian halnya gosip Dewi Perssik. Di dalam teks pasti ada perspektif yang berbeda yang menghasilkan perbedaan dalam penyiaran gosip tersebut.

For the inseparable soul, The center of my galaxy, The true heart companion, Just go where the fate brings us, do not think of it Yet I still wonder why weve been this far and I still cant take my eyes off of you I dedicated this work For our painful longing

ACKNOWLEDGEMENT Alhamdulillahirabbilalamin My highest and deepest gratitude is only bestowed to Allah, for the blessing that enables me to finish my thesis. Also this thesis would not be completed without the support, encouragement and assistance from my beloved advisors, Dra. Sri Endah Tabiati, M.Ed and Isti Purwaningtyas, SS, MPd. without their guidance, the author would not be able to accomplish this work punctually. My appreciation also goes to Dra. Francien H Tomasowa Ph.D., as the head of Language and Literature Program. Besides, I would like to thank Mr. Lalu Merdi, M.A, as my academic advisor, for giving me support and lending me the book. Also, I extend my deepest gratitude to Mrs. Nurul Chojimah MPd, for inspiring me to write thesis about Critical Discourse Analysis and for giving me guidance in writing the proposal of my thesis. The author is indebted to the following people for their help in writing the thesis 1. My irreplaceable family; Mama and Papa, for all the love, financial support and motivation. They are the best people Ive ever known in my life. For my brothers and sisters, Didis, Aang, Dasa, Itas, Bely and Rere, I thank them for giving me chances to be a great sister. I love them all. 2. My never ending soul mate, the center of my galaxy, Ilham Akhsanu Ridlo, who always reprimands me when I want to give up, gives me caress when I feel afraid, wipes my tears when I cry and holds my hands when I lose my direction. His love, support and prays mean a lot to me. 3. All classmates in 2004 generation, they all are very nice friends. 4. Kost Orenz girls, Azty, Mb Ana, Mb Dian, Irma, Mb Ana MT, Nana, for all your kindness to help me while I am writing my thesis, for all the time we have been through, for all the movies Ive copied, for all the food, tears and

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laugh weve shared and for all the time and energy weve spent to enjoy this beautiful life together. 5. Fariska who had lent me her library card. It is very helpful for me and I am very glad to have a nice friend like her. 6. Mrs. Nurdian Rahmawati, the vice-headmaster of Anak Saleh Elementary School, for giving me permission to leave my duty in order to finish my thesis. Im so sorry if I can not accomplish my duty maximally. 7. All teachers and staffs of Anak Saleh Elementary School, for making good cooperation. They all are kind-hearted people. It is an honor for me to meet them all. 8. All lecturers and staffs of BASTRA, nice to know them all and I thank them for all the help for these four years. 9. My students in el-faraby class, I love them all. Their smile and innocent faces take me to good mood every day. 10. All teachers and staffs of SMP N 1 Tikung, for giving me chance to undergo new experiences as a teacher and for believing me to handle the English club for one semester. Its absolutely a priceless chance of my life. 11. Pak Ali in LBB Fokus, the one who accepts me to be English private teacher without any complicated test. 12. Mas Paulinus Widhi Arto for his amazing and inspiring thesis. He inspires me much yet it is impossible for me to have idealism and vision like him. I am just an ordinary student. 13. Mas-mas, mbak-mbak, bapak-bapak and ibu-ibu in Klaseman, who have known me and lived together with me in Klaseman for these four years. What a great harmony weve made. AJKK. 14. Dee, the true companion of my life 15. My old friends wherever and however they are, especially language class in SMADALA 2004 generation.

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16. The darkest side of my life, day without sun, night without moon, for driving me through the hardest moments until I have grown up. I have changed a lot. Lastly, I would like to acknowledge all people who give uncountable contribution in finishing this thesis but unfortunately I can not mention one by one. There is no word to portray all their kindness but thank you so much.

Malang, 26 August 2008

The Writer

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TABLE OF CONTENTS TITLE PAGE . i ADVISOR APPROVAL .. ii BOARD OF EXAMINERS CERTIFICATE OF APPROVAL ..... iii ABSTRACT .. iv ABSTRAK vi DEDICATIONAL PAGE viii ACKNOWLEDGEMENT ... ix TABLE OF CONTENT xii LIST OF TABLES . xiv LIST OF FIGURES xv LIST OF APPENDICES .. xvi CHAPTER I INTRODUCTION 1.1 Background of the Study .. 1.2 Problem of the Study . 1.3 Objective of the Study ... 1.4 Scope and Limitation of the Study .. 1.5 Significance of the Study .. 1.6 Definition of Key Terms ... 1 5 5 6 7 8

CHAPTER II REVIEW OF RELATED LITERATURE 2.1 Television 10 2.1.1 The Nature of Television 10 2.1.2 Encoding and Decoding .... 13 2.2 Infotainment ... 14 2.2.1 Definition .. 14 2.2.2 The History of Infotainment in Indonesia . 14 2.2.3 The Concept of Infotainment 15 2.3 Critical Disccourse Analysis .. 16 2.3.1 Definition .. 16 2.3.2 The Approach of CDA by Norman Fairclough . 16 2.4 Power and Ideology 32 2.4.1 Power . 32 2.4.1.1 Definition of Power by Experts .. 32 2.4.1.2 Power in Language .. 35 2.4.1.3 Power in Discourse .. 36 2.4.2 Ideology . 37 2.5 Profile of Insert Investigasi and Silet . 39 2.6 Previous Study 40

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CHAPTER III RESEARCH METHOD 3.1 Type of Study 3.2 Data and Source of Data .. 3.3 Instrument of Data Collection .. 3.4 Credibility and Dependability .. 3.5 Data Analysis

42 42 43 43 44

CHAPTER IV FINDING AND DISCUSSION 4.1 Data Description 46 4.1.1 Silet . 47 4.1.1.1 Metaphor . 47 4.1.1.2 Diction 47 4.1.1.3 Cohesive Device . 51 4.1.1.4 Sentence Structure .. 55 4.1.2 Insert Investigasi 65 4.1.2.1 Metaphor .. 65 4.1.2.2 Diction . 66 4.1.2.3 Cohesive Device .. 69 4.1.2.4 Sentence Structure .. 76 4.2 Analysis . 85 4.2.1 Textual Analysis in Silet . 86 4.2.1.1 Metaphor .. 86 4.2.1.2 Diction . 87 4.2.1.3 Cohesive Device . 96 4.2.1.4 Sentence Structure .. 105 4.2.2 Textual Analysis In Insert Investigasi ... 113 4.2.2.1 Metaphor . 113 4.2.2.2 Diction 114 4.2.2.3 Cohesive Device .. 121 4.2.2.4 Sentence Structure ... 131 4.2.3 Analysis and Comparison ... 136 4.2.3.1 Holistic Analysis .. 136 4.2.3.4 Comparison .. 158 4.2.4 Socio-cultural practice 167 4.3 Discussion . 179 CHAPTER V CONCLUSION AND SUGGESTION 5.1 Conclusion 186 5.2 Suggestion .... 188

REFERENCES .. 191 APPENDICES ... 193

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LIST OF TABLES Table 1 Table 2 Table 3 25 Table 4 Table 5 Table 6 Table 7 Table 8 Table 9 Table 10 Table 11 Table 12 Table 13 Personal Reference 24 Demonstrative Reference . 25 Comparative Reference ... Conjunctions in Silet References in Silet Conjunctions in Insert Investigasi References in Insert Investigasi Conjunctions in Silet (the analysis) .. References in Silet (the analysis) . Conjunctions in Insert Investigasi (the analysis) . References in Insert Investigasi (the analysis) . Comparison between Insert Investigasi and Silet . The Representation in Insert Investigasi and Silet ... 52 54 69 73 96 101 121 126 158 165

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LIST OF FIGURES Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6 Figure 7 Dimension of CDA ..... Socio-cultural Practice Production of Text .. Supply and Demand The Relationship of TV Station, Advertisement, Rating and Viewer. The Relationship of Language, Power and Ideology . The Relationship of Language, Power and Ideology in Insert Investigasi and Silet 30 167 170 172 173 180 185

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LIST OF APPENDICES Text of Insert Investigasi 193 Text of Silet ... 197

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CHAPTER I INTRODUCTION

This chapter covers the background of the study, problems of the study, objectives of the study, scope of the study, significance of the study, and definition of key terms.

1.1 Background of the Study In the era of globalization, people have a great number of tools to deliver messages and information. One of the most frequently used tools is mass media. Today, there are electronic mass media and printed mass media. Electronic media are television, radio and so forth, and printed media are newspaper, magazine, tabloid and so on. One of the most adorable media is television since it is considered as an affordable medium, and it can deliver messages fast. When there is news or event, television is able to undertake direct broadcast on the news or event. According to Barker (2006:315) television is a resource open to virtually everybody in the modern industrialized societies and the increasing one in the developing world. On television, one can move from a particular channel to another channel as he likes. Due to its ease to be accessed, there are many people who choose to watch television rather than to listen to radio or other media. Children, teenagers and adult are likely to be televisions viewers. Besides, any sorts of television programs make

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the viewers feel enjoyable. Therefore, many television programs are formatted to be interesting and attractive programs to attract the viewers to rise the rate of the programs. Nowadays, one of the most wanted television programs is infotainment, which stands for information and entertainment. Infotainment plays dominant role in television since it becomes the favorite program to watch. Based on the fact provided by www.liputan6.com, there are 41 infotainment programs in Indonesia (until August 2006). Every television station has more than one infotainment programs. Though it broadcasts and reports the news of artists, that is regarded as unimportant news by some people, not the news of the worlds condition, it becomes Indonesians people favorite program. As stated on www.liputan6.com, infotainment is in the first rank of television programs rate in Indonesia. The news broadcast is various, from the news of the achievement of celebrities into the news of celebrities privacy, such as their secret marriage, divorce, or family quarreling. Related to its various contents, television is included as parts of culture. Basically, based on Burton (2007:8), television is a cultural phenomenon which also functions as a medium of culture in our home. Considering television as part of culture, it may serve as the commodity of culture. It brings meanings and messages which serve the need of certain group. Because there is a communicative event, it needs language and it involves an addresser and an addressee. However, the language in media, in this case television, is quite different from the language used in daily interaction. Since in media, there is a distance between addresser and addressee,

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which leads on the issues of access and power. Besides, television communication is one-sided so that the power of certain addresser can dominate the communication while the addressee as the receiver can only accept what is being broadcast and sometimes does not consider the power that occurs. This idea is supported by the statement of Thompson as quoted by Phillips and Jorgensen (2007:140), ideology is the practice to operate the production of meaning in the real life. On other hand meaning is organized in order to keep relationships of power. Therefore, the production of meaning in everyday life has an important role to keep social configuration. Language in television serves as the representation of a certain ideology from a group of people. As stated by Voloshinov (in Titscher, 2000:145), every instance of language use as ideological, including the language use in television. Television, as one of mass media, shapes peoples understanding about the world. Through television, certain people or group are able to relay messages with multiple meanings. Rather, the messages will be structured leading to a preferred meaning in order to shape the same understanding in seeing this world. In short, television is used as an agent of ideology (the essential of the preferred meaning). It is firmly related to power because, as previously mentioned, in television, there is an imbalanced relationship causing the domination of a group of people who have power. Power here refers to economic power, military power, political power and cultural power. The people who have power can spread their ideology and their point of view to the

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common people who do not have power since they have access to mass media. Meanwhile common people do not have such kind of power. Regarding infotainment program as the most favorite television program, it may bring meanings or certain ideology from a particular people. Considering infotainment as the most frequently watched program, it will be effective if a certain powerful group wants to spread the ideology via infotainment. Even in infotainment people are brought into the world of fame, the imaginary world, the world of artists, not the real world of common people. There, one can watch high life style which is too far away from reality surrounding and it will create a social gap between the reality and the world of celebrities. Regarding that distance, the ideology being spread is presumably quite different from the ideology of the audience. Seeing that case above, it is intriguing to know further the power and ideology in infotainment programs. To analyze the power and ideology, it is necessary to analyze the language in advance due to the language function as the medium of delivering messages. Since every single institution (in this case is infotainment program) has its own way to relay messages and to display the preferred meaning, there is an assumption that every infotainment program depicts the gossip in slightly different ways. The researcher chooses those two infotainment programs, Silet and Insert Investigasi since Silet is the most favorite infotainment program in Panasonic Award 2007 while Insert Investigasi is infotainment program broadcast by the most favorite Television station, Trans TV. Both present gossip in depth because they focus more on a certain topic in one time broadcasting. Therefore, the researcher will

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conduct a study entitled A COMPARATIVE STUDY OF LANGUAGE, POWER AND IDEOLOGY IN INSERT INVESTIGASI AND SILET: A STUDY OF CRITICAL DISCOURSE ANALYSIS. The researcher will use the approach of critical discourse analysis proposed by Norman Fairclough since it is able to represent the methods and theories which have the fastest development in the field of communication, culture and society.

1.2 Problems of the Study Based on the background study above, these are the problems of the study: 1.2.1 What are the : a) Metaphors b) Dictions c) Cohesive devices d) Grammar (structure of sentence) used in Insert Investigasi and Silet infotainment program in broadcasting the gossip? 1.2.2 How do the metaphors, dictions, cohesive devices and the structure of sentences exhibit the relationship between language, power and ideology in Insert Investigasi and Silet?

1.3 Objectives of the Study This study is proposed:

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1.3.1

to know the metaphors, dictions, cohesive devices and grammar (structure of sentence) used in Insert Investigasi and Silet in broadcasting gossip;

1.3.2

to figure out the work of metaphors, dictions, cohesive devices and the structure of sentence in order to exhibit the relationship between language, power and ideology in the broadcasting of gossip in Insert Investigasi and Silet.

1.4 Scope and Limitation of the Study This study is intended to investigate what kind of power and ideology that exist in the gossip broadcast by two infotainment programs. The infotainment programs here are Insert Investigasi and Silet, two of popular and exclusive infotainment programs because both of them broadcast one certain issue or gossip in depth. As mentioned previously, Silet is the most favorite infotainment program and Insert Investigasi is infotainment program broadcast in the most favorite television station based on its achievement in Panasonic Award 2007, Trans TV, therefore the researcher would like to choose those two infotainment programs. Besides, the text being analyzed is the gossip of Dewi Perssik since in the process of data collection, the hottest gossip is the gossip of Dewi Perssik. There are many perspectives in analyzing media, including television and its programs; however, this study will only employ critical discourse analysis to make the discussion more comprehensive. The study will apply the theory of

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Norman Fairclough since the theory is widely known in the study in the field of media studies and communication. Besides, the study will be conducted merely on two levels of analysis since the second type of analysis (observing newsroom production) is impossible to do. It is regarding the condition of the researcher who is failed to contact the production house of those infotainment programs. Besides, the translation of the data will be done to the data which are analyzed further. It is because the translation itself is not included in the analysis and it functions to assist the main text to be understood in ease by non-Indonesia speakers.

1.5 Significance of the Study This study is useful for the following parties: 1. The researcher This study is useful for the writer since the study concerns with linguistics, the discipline which the writer is learning. This study is expected to improve the writers knowledge in analyzing television program as the instance of discourse by applying critical discourse analysis. 2. The English Department of Brawijaya University This study is useful for the English Department of Brawijaya University since it can add the collection of the literature on the way of analyzing television program.

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3. Society This study can be as a scientific proof that the text should not be considered as a mere text. Therefore, this study is expected to give the society a new perspective in understanding the issue or gossip reported by infotainment program in order not to take the gossip easily and directly. 4. Television Station and Production House This study is expected to be a new knowledge that can inspire television stations and production house of infotainment program to conduct self-evaluation of their report on certain issue.

1.6 Definition of Key Terms Television : culture media which provides a new human civilization which is called as mass culture (Kuswandi, 1996:22) Infotainment : Infotainment (a portmanteau of information and entertainment) refers to a general type of media broadcast program which provides a combination of current events news and "feature news", or "features stories". (www.wikipedia.com) Critical discourse analysis : the analysis of language concerning that every discourse is never neutral. Thus, this analysis is

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done by looking at many levels of analysis. Based on Fairclough, there are three levels, which are, textual analysis, discursive practice and socio-cultural practice. Language : the system of sounds and words used by humans to express their thoughts and feelings (Oxford Advanced Learners Dictionary). This study will analyze the text in bahasa Indonesia Power : something one subgroups or one person has and others do not: power comes with social status (Johnstone, 2002:112). In this case, power is related to the power of media to construct a certain reality into news broadcast by television program. Ideology : An ideology can be thought of as a comprehensive vision, as a way of looking at things, as in common sense and several philosophical tendencies or a set of ideas proposed by the dominant class of a society to all members of this society

(www.wikipedia.com, accessed on March 2008)

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Insert Investigasi

: infotainment program broadcasted everyday at 5.30 p.m on Trans TV

Silet

: infotainment program broadcasted everyday at 11.00 a.m on RCTI

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CHAPTER II REVIEW OF RELATED LITERATURE

The researcher is going to review some theories related to the study in this chapter. Those are the theories of television, infotainment, critical discourse analysis, language, power and ideology, the profile of Insert Investigasi and Silet infotainment program and also the previous study.

2.1 Television In this section, there are the explanations of the theories about television. This part is useful in order to gain basic understanding about television. 2.1.1 The Nature of Television According to Kuswandi (1996:22), television is culture media and it provides a new human civilization which is called mass culture. Based on Burton (2000:8) television is indeed a cultural phenomenon and also a media of cultural activity in our home. The audiovisual system has made television able to take control of geography and sociology. In the process of delivering message, interpretation from the audience of the message given by the media varies based on the vision of the audience itself. It means that television as media has a big influence on people to create the peoples way of thinking. It means that media has a power in society which exists in the language used. It is encouraged by knowing the function of language in television as proposed by Michael Skovmand and Kim Schroder in Burton (2001: 101).

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Language on television has enormous number of functions to the viewers. Based on Kuswandi (1996:84), there are four functions of language on television. First, language serves as social control. Second, language can function as a media to express one self (self-expression). Third, language serves as a media to promote something (promotion). Finally, language in television can function as integration and adaptation. Television as media is closely related to meanings and their circulation in the society. Television, like any other instances of discourses, shapes peoples point of view to the world through the use of language. Through language, meanings can be brought and delivered. Fiske argues, as stated by Burton (2007:24), television serves as the supporter and circulator of meanings. Television makes those meanings serve the dominance need in society and circulate the meanings in various social groups. The meanings are able to influence the values in the society because they are circulated and communicated by using the most frequently watched and the most affordable media, i.e. television. There are some assumptions proposed by Burton (2000:18) related to the nature of television and here are some of them: a) Polysemy It is inevitably to state that television is basically polisemic. It means television consists of many signs built up by the chain of codes which are visual, verbal, technical, non-verbal and so on. This polisemic tends to produce visual and aural complexity. Then reading

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television is categorized into complex activity. While, there are two perspectives as stated in Burton (2000:21) regarded the polisemic meaning of television. The first is polysemy can cause many possibilities for the audiences. The second is although it is stated as in the first perspective, television, generally, has arranged the image and meaning and used narrative strategies to lead us to a certain understanding of the program. b) Transitory pop culture Television is identified with transitory media because the volume of the material and also the permanency and the recording system. c) Complicity, intimacy, activity Complicity is related directly to the context of viewing home. The audience is invited to get involve with the special information such in documentary movie broadcasting snooker or wild animal with the voice of interpreter we are there with the interpreter. d) The media of family The concept of television is home viewing and home is always connected to family. Yet it is invalid to mention the statement above since not all the member of a family watch television together. Sometimes they have their own televisions in their rooms. But this point still can be put in these perspectives. e) Cultural agent the commodity of culture

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Television creates preferred meanings and circulates them in various social groups. Fiske, as stated by Burton (2000:24) defines television as cultural commodity. A television program is the product with price to sell to the audience. However, in the level of culture, television becomes a different sort of product, in which people use the meanings and define the meaning based on the cultural value.

2.1.2 Encoding and Decoding In the model of television communication by Hall as stated by Storey (2007:12), the circulation of meaning in television discourse passes three different moments: each of them has their specific existence and modality. The first, the media professionals give meaning to television discourse with special report about, for example, a raw event. In this moment, the way to see the world is under control. Thus, the media professionals who get involved determine on how the raw social event being encoded in the discourse. In the second moment, after the messages are in the preferred meaning, the formal rule of language and discourse is free controlled; a message is now open, for instance, for the game of polysemy. At last, in the final moment, the decoding moment is done by viewer or audience, the ways to see the world (ideology) can be carried out freely. An audience is encountered the discursive interpretation of an event, not the raw social event. If an event becomes meaningful for the audience, the event must include the interpretation and

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understanding of the discourse. If there is no meaning for the audience, it might be no consumption. If the audience acts based on his decoding, then the act becomes the social practice, a raw event that is ready to be encoded in another discourse. So, through discourse, circulation of production becomes reproduction to production again.

2.2 Infotainment 2.2.1 Definition

Infotainment stands for information and entertainment. Based on www.wikipedia.com, Infotainment (a portmanteau of information and entertainment) refers to a general type of media broadcast program which provides a combination of current events news and "feature news", or "features stories". It spells out the information about entertainer or wellknown as public figure. Information, here, means news or gossip about public figure, for example, the achievement, marriage, or even the daily activities. However, according to www.kompas.com, infotainment mostly broadcasts the news on privacy area of public figure which is virtually still unproven.

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2.2.2

The History of Infotainment in Indonesia The coming of infotainment in Indonesia can not be separated from

the big role of H. Ilham Bintang, who has been known as press practitioner in the realm of motion picture. He started with 16 people and now he has 160 employers in his production house, PT Bintang Advis Multimedia. Based on his experience on Pantap FFI (1986-1992), Ilham produced the very first of his infotainment program, Buletin Sinetron, which was broadcast on TVRI (1994) first before he moved to RCTI. It seems that his first experience on making infotainment program has encouraged him to produce Cek&Ricek, Hallo Selebriti, Croscek and so on. That is why, looking at his success, other production houses attempt to produce the same kind of program. Today, infotainment programs are very enormous and various (Wirodono, 2005:43) 2.2.3 The Concept of Infotainment Wirodono says (2005:43), infotainment is included in the affordable and cheap program for this program does not need high-editing and hightechnology tools, and it is fully real coverage. However, infotainment provides new reality though it is not new value because infotainment is supposed to be part of television journalism. Infotainment program deals with privacy area of public figure, famous people, celebrities by having one or two questions. Afterwards, the rest part is

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on the viewers imagination which is influenced by the image of the public figure. Therefore, there is no final resume in infotainment. If there is any, it is only in the form of the presenters statement which is implied on other interpretations (Wirodono, 2005:44). Infotainment is part of journalism as stated by PWI (Persatuan Wartawan Indonesia). As quoted from www.tempointeraktif.com, PWI admits infotainment as the product of journalism so PWI accomodate infotainment journalists who register themselves into this organisation, and since December 2005, there has been Department of infotainment in PWI. In short, infotainment is the combination of information and entertainment which gives the information about public figures. The concept of infotainment in the viewers perspective is the program that broadcasts and discusses news or gossip of public figures, even in the private area of their life which is still unproven. 2.3 Critical Discourse Analysis 2.3.1 Definition Critical discourse analysis is the analysis on a discourse assuming that a discourse is never neutral. According to Titscher et al, (2000:144) critical discourse analysis (CDA) is critical in two senses: one sense is based on the ideas of the Frankfurt School and the other on a shared tradition with so-called critical linguistics.

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Fairclough (1989) proposes the definition of critical discourse analysis as the study of a text which conseptualizes languages as a form of social practice, and attempts to make human beings aware of the reciprocal influences of language and social structure of which they are normally unaware.

2.3.2 The Approach of Critical Discourse Analysis by Norman Fairclough The study will focus on the approach on critical discourse analysis by Norman Fairclough because it represents the method and theory which have the faster development in the field of communication, culture and society. Fairclough

understands CDA to be concerned with the investigation of the tension between the two assumptions about language use: that language is both socially constitutive and socially determined (Titscher, 2000:148). The most important point in the approach of Fairchlough is that seeing language as practice of power. To see how the language user brings certain ideology, holistic analysis is needed. Seeing language from this perspective brings enormous implications. First, discourse is the form of action, one uses language as an action to the world and also as the representation in seeing the world or reality. Second, model implicates the mutual relationship between discourse and social practice. Here, discourse is divided by social structure, social class, and other social relations which are related with specific relation from certain institution such as in law or education, system, and classification. Therefore, Fairclough is well-known for his approach to carry out critical discourse analysis. His approach is the form of discourse analysis which is oriented to

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text and attempts to unify three traditions; they are textual analysis, macrosociological practice analysis, interpretative and micro-sociological practice tradition (Jorgensen and Phillips, 2007:124). Fairclough uses detailed textual analysis to obtain the knowledge on how discursive process is operated linguistically. For Fairclough, textual analysis is not enough to discourse analysis. As mentioned by Jorgensen and Phillips (2007:124), Fairclough proposes that to undertake critical discourse analysis, it needs interdisciplinary perspective which is combined textual analysis and social practice. Jorgensen and Phillips (2007:126) argue that in any kind of analysis, there are two dimensions of discourse: Communicative event, for instances the use of language in newspaper article, film, radio, video, interview or political speech Discourse configuration, the configuration of all sorts of discourses which are applied in institution or social field. Fairclough, furthermore, explains discourse concept of communicative event (discursive event) by applying three different things. He attributes three dimensions to every discursive event. According to Fairclough, as quoted by Titscher et al (2000:150), there are three dimensions to conduct the analysis of a discursive event: 1. Textual level

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At textual level, content and form are analysed. These two aspects of a text, content and form/structure, are, for Fairclough, inseparable: contents are realized by particular forms; different contents also imply different forms and vice versa. Fairclough proposes some devices for textual analysis, such as interactional control (the relationship among the speakers, including who determines the conversation agenda), ethos, metaphor, words (dictions), and grammar (Jorgensen and Phillips, 2007:152). Those terms provide knowledge on how text treats social event and social relationship and also constructs certain reality, social identity and social relationship (Jorgensen and Phillips, 2007:152). The analysis on this level will cover the analysis on the dictions, metaphors, cohesive devices, the structure of the sentences and so forth. This study will employ those four aspects in carrying out the analysis on textual level. a) Metaphor Based on Saeed (2005:345) metaphor has traditionally been viewed as the most important form of figurative language use, and is usually seen as reaching its most sophisticated forms in literary or poetic language. Saeed also suggests (2005:345) that there are many explanations on how metaphors work but common ideas is that metaphor is somewhat like simile in that it involves the identification of resemblances, but the metaphor goes further by causing a transference, where properties are transferred from one concept to another.

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In addition, according to Fairclough (1989:118), metaphor is a means of representing one aspect of experience in terms of another, and is by no means restricted to the sort of discourse. It tends to be stereotypically associated with poetry and literary discourse. For example the metaphor was used in the beginning of an article in a Scottish newspaper about the riot of 1981: As the cancer spread As the riot of rampaging youths spread from the south, even the most optimistic have fears for the future, afraid worse is yet to come. How far can the trouble spread? If it comes to the Scotland, where will it strike? Metaphor is now commonly used in everyday communication. So that it has role in language. According to Saeed (2005:355), there are two traditional positions on the role of metaphor in language. The first is classical view in which it portrays metaphor as something outside normal language and which requires special forms of interpretation from listeners or readers. The second traditional approach is called romantic view. It views metaphor as the integration to language and thought of as a way of undergoing the world. Saeed proposes that it is evidence of the role of the imagination in conceptualizing and reasoning and it follows that all languages are metaphorical. b) Diction Diction or choice of word is closely related to how an event, person, group or certain activity being categorized by particular set. Diction truly

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determines since it is connected with the statement how reality being signed in language and how language reveals the formation of certain reality. For example, in Bahasa Indonesia, poor people (miskin) can be expressed by some choices of words (example by Eriyanto, 2001 : 55) Miskin Tidak mampu Marjinal Terpinggirkan Tertindas by the dominant group in society. c) Cohesive Devices 1) Conjunction Based on Halliday and Hasan (2003:242), there are four types of conjunctions. They are: a) Additive Function : to add information Kinds : dan, juga, selain itu (and, also, besides) b) Adversative Function : to show contrast Kinds : namun, tetapi, melainkan (however, but, They get poor because of themselves. They get poor because they do not have the same chance, the same access, or they are being pressed

nevertheless) c) Causal Function : to show causal relation (cause and effect)

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Kinds : sebab, karena, oleh sebab itu, oleh karena itu (because, therefore, thus) d) Temporal Function : to show time relation, to relate with certain event (time) Kinds : setelah, kemudian, sejak, ketika (after, then, since, when)

In addition, according to Rani et al (2006:107) there are fifteen types of conjunction in bahasa Indonesia. Some of them are the same as Halliday and Hasans so the following explanations are limited to what has not been included in Halliday and Hasans theory: a) Choice : atau (or) b) Paraphrase : dengan kata lain, dengan perkataan lain (in other word) c) Disharmony : dalam kenyataannya (in fact) d) Harmony : demikian juga, demikian halnya e) Comparison : sama halnya, berbeda dengan itu, seperti, dalam hal seperti itu, lebih dari itu, serupa dengan itu, sejalan dengan itu (the same as, different from, in line with) f) Optative : mudah-mudahan (hopefully)

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g) Summary and conclusion : jadi, singkatnya, pendeknya, pada umumnya, kesimpulannya, dengan ringkasannya (so, in short, generally, in conclusion) h) Conditional or example : contohnya, misalnya, umpamanya (for example, for instance) i) Dubitative : mungkin (maybe, perhaps) j) Consesion : memang, tentu saja (well) k) Affirmation : bahkan, apalagi (even) l) Explanation : yang dimaksud, artinya 2) Repetition Repetition of words can create same sort of chain as pronouns, and there are sometimes good reasons for preferring it. Repetition is a good way to maintain the sentences cohesive to each others. This relationship is formed by repeating some part of the sentence. According to Halliday (1985:310), repetition is the most direct form of lexical cohesion; e.g. the word berfilsafat in Berfilsafat didorong untuk mengetahui apa yang kita ketahui dan apa yang belum kita tahu. Berfilsafat berarti berendah hati bahwa tidak semuanya dapat diketahui. Here, the second occurrence of the word berfilsafat harks back to the first. There is no change in form and also in position (subject). To recognize a lexical item as repeated, it need not be in the same morphological shape.

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For example, makan, memakan, dimakan are all same items, and an occurrence of any one constitutes a repetition of any of others. For example, the change of form in the word berfilsafat into filsafat below Pengetahuan dimulai dengan rasa ingin tahu, kepastian dimulai dengan rasa ragu-ragu dan filsafat dimulai dengan kedua-duanya. Berfilsafat didorong untuk mengetahui apa yang telah kita ketahui Here, the word berfilsafat and filsafat are the same lexical items. Therefore there is a strong feeling of cohesion between them.

3) Reference Reference, based on Halliday and Hasan (2003:31) is the specific nature of information that is signaled for retrieval. To determine referential meaning, one can look at the text or to the situation. The clear explanation will be described below

References

(situational/exophora)

(textual/endophora)

anaphora

cataphora

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According to the figure above, there are two types of references, exophora and endophora. Exophora is type of reference that can be found by looking at the situation. While, endophora is reference that can be found by looking at the text (contextual). Endophora itself can be divided into two kinds, anaphora (looking at previous text) and cataphora (looking at following text). Besides, there are another division of references based on their means of communication. They are: Personal reference Personal reference is reference by means of function in the speech situation, through the category of person

Table 1
Indonesia

Personal Reference English I, me You We, us English They, them He, him It One

Saya Kamu, Anda Kami, kita Continued Indonesia Mereka Dia, -nya Orang Saya

Demonstrative reference

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Demonstrative reference is reference by means of location, on a scale of proximity

Table 2 Indonesia Ini Itu Disini Disana

Demonstrative Pronoun English This That Here There

Comparative reference Comparative reference is indirect reference by means of identity or similarity.

Table 3 Indonesia Mirip Sama Setara Yang lain Berbeda Lebih baik Lebih banyak d) Grammar

Comparative Pronoun English Similar Same Equal Other Different Better More

Grammar has to do with the ways in which grammatical forms of a language code happenings or relationships in the world, the people or animals or things

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involved in those happenings or relationships and their spatial and temporal circumstances, manner of occurrence, and so on. This study will focus on the construction of SVO-SV-SVC. Below is the elaboration of this part, based on Fairclough (2001:101)

SVO-SV-SVC Constructions When one wishes to represent textually some real or imaginary actions, events, or state of affairs, there is often a choice between different grammatical process and participant types, and the selection that is made can be ideologically significant. The three types of simple sentence are a. SVO (Subject Verb Object) Oknum polisi memperkosa seorang wanita Police abuses a woman b. SV (Subject Verb) Seorang wanita diperkosa A woman being abuses

c. SVC ( Subject Verb Complement) Indonesia bukan merupakan Negara berbahaya Indonesia is not a dangerous country

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The three main types of sentences most typically (but not always) express respectively three main types of process: actions (SVO), events (SV), and attributions (SVC). An action involves two participants, an agent and a patient and the agent acts upon the patient in some way. An event involves just one participant, which may be animate or inanimate. However, SV sentences are not always events; if they have animate participants, they may be a special sort of patient-less action, or what it is called non-directed action. A test is if it is most naturally answers the question (what (has) happened?), its an event, but if it is most naturally answers the question (what did (the subject) do?), it is a nondirected action. An attribution also involves just one participant, but there is also some sort of attribute after verb, either a possessive attributive if the verb is a form of have, or a non-possessive attribute with other verbs (notably be, but also feel, seem, look, and a number of others). Non-possessive attributes show up sometimes as adjectives, sometimes as nouns. The ideological representation of the choice between process types are choices with clear significance; as an action with responsible agents, an event, or an attributive state. Such choices to highlight or background agency may be consistent, automatic, and commonsensical and therefore ideological; they may be conscious hedging or deception. 2. Discursive practice

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The level of the discursive practice is the link between text and social practice. Based on Titscher et al (2000:150), there is a connection between the sociocognitive aspects of text production and interpretation and on the one hand, this level is closely related to the textual level. Therefore, the analysis of discursive practice includes not only a precise explanation of how the participants in an interaction interpret and produce text, but also the relationships of discursive events to orders of discourse, that is a matter of interdiscursivity. (Fairclough, quoted by Titscher, 2000:150). Interdiscursivity within text analysis has, for Fairclough, a bridging function between text and context: it is concerned with how repertoires of genres and discourses are exploited within orders of discourse for text production and interpretation how discourse and genres are combined, or how texts are ultimately produced and interpreted, depends upon the social context: a stable set of social relationships and identities implies a relatively orthodox and normative use of discourses and genres together with a respect for social conventions. The analysis of discursive practice focuses on the production and consumption of a text. Text is produced through discursive practice. For instance, the classroom discourse is formed by discursive practices that involved the relationship between teacher and student, how the teacher delivers the materials, how the pattern of the relationship and the position of students in the classroom activity and so forth. The same thing happens in the media. Text involves complicated and complex discursive practice. This practice determines how the text is formed. For Fairclough as stated in Eriyanto (2001:317), there are two sides of the discursive practice. They are the text production (the media) and the consumption (the audience or reader).

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Text production closely related to the pattern and the media routine of the news making in the newsroom. The consumption firmly related to the interpretation of the reader or viewer toward a certain text. 3. Socio-cultural practice The analysis of the third dimension of a discursive even is social practice or socio-cultural practice. Related to its name, it deals with the different level of social organization. Titscher et al (2000:151) suggest that what is meant by level of social organization is included the situation, the institutional context, the wider group or social context. The central interest is power. Power and ideologies may have an effect on each of the contextual levels. Socio-cultural practice has dimensions as its part. As proposed by Fairclough, quoted by Jorgensen and Phillips (2007:157), the first dimension is to exploit the relation between discursive practice and discourse configuration. What kind of discourse does the text belong to? The second is the aim to be reached is to map cultural, social and non-discourse relationship and structure that has wider context in the discursive event. those kind of questions can not be answered by discourse analysis, for Fairclough, it has to use other theories, such as cultural or social theory which can explain that discursive practice.

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Process of production

Text

Process of interpretation Discursive Practice Socio-cultural practice (Situational, institutional, societal) Figure 1 Dimensions of critical discourse analysis (proposed by Fairclough)

Socio-cultural practice is not straightly related to the production of text, but it determines how the text is produced and understood. Based on Fairclough, as stated in Eriyanto (2001:321), the relationship between sociocultural practice and text is mediated by the discursive practice. Fairclough suggests three levels of analysis for socio-cultural practice which are situational, institutional and social level. Situational level deals with the situational aspect when the text is produced. Text is created in a particular condition or unique

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condition so that one text can be different from the other texts. The institutional level related to the influence of institution or organization in the practice of discourse production. This institution can be internally or externally. Put simply, there are some aspects that influence the production of text in media. The first is advertiser who determines the continuity of a media. The second one is the reader or viewer which is shown by rating. The third the competition among media and the last one is share or media ownership. The third level of socio-cultural practice is social level. Social aspect concerns more on macro aspects of social such as, politic, economic and culture holistically. Those systems determine who rules, what values that exist and how those things affect the media. The approach of Norman Fairclough is beneficial for my study because this theory is the approach used in my study. By reviewing this theory, there will be obvious understanding about this study.

2.4 Power and Ideology As previously mentioned, language in television has enormous functions. But, language in television (media) is quite different from language in conversational use in everyday life. Talbot et al (2003:9) propose that a distinguishing characteristic of media (television) language is the distance between addresser and addressee, in space

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and, frequently, also in time. This matter of distance leads on to issues of access and power. It causes the communication in television becomes one-sided. This one-sided communication may cause the imbalance power between addresser and addressee of the communicative event in television. Besides, the one-sided communication also effects on the circulation of meaning in order to deliver the preferred meaning concerning with ideology.

2.4.1 Power The term power is another conceptual word for discourse analysis; what it is, where it is located and how it can be analysed in or as discourse are all questions that continue to be hotly debated in the broad field of language and discourse studies. Power means different things to different people; it is multifaceted, and can take many different forms (Thornborrow, 2002:5)

2.4.1.1 Definition of Power by Experts (Thornborrow, 2002:6) Behavioural perspectives Power was a matter of individual agency, residing in individuals rather than in organisations. According to this model, power can be said to exist only in so far as it is empirically observable in the world, measurable, according to peoples responses to it. Structural model by Stephen Lukes and Stuart Hall

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Based on Stephen Lukes, power is conseptualised in a much more abstract way, as ideological and hegemonic. While Stuart Hall has described the effect of the hegemonic power as shaping peoples perceptions, cognitions and preferences in such a way that [social agents] accept their role in the existing order of things, either because they can see or imagine no alternative to it, or because they see it as natural and unchangeable, or because they see it as divinely ordained or beneficial. Pierre Bourdieu His account of power as symbolic capital, whereby some social practices take on more value and status than others, and where knowledge of and access to those practices put some people in potentially more powerful positions than others, has also been found by many sociolinguists to be a productive framework for understanding the relationship between language and power. Penelope Eckert and Sally McConnell-Ginet For them, a community of practice is where social meaning, social identity, community membership, forms of participation, the full range of community practices, and the symbolic relationship of linguistic form are being constantly and mutually constructed. In this sense every community, from a nuclear

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family to a company boardroom or a court of law, has a culture of locally constructed values and relations of power; in other words, it forms a community made up of practices. Michel Foucault Foucault proposes that the conseptualisation of power has had two important consequences for exploring the relationship between discourse and social, institutional organisations. Foucault has claimed that there are no relations of power without resistances and that these are formed right at the point where power is exercised. So, if we want to consider how some forms of language use might be powerful, we can look at how this power is instantiated in talk, how it gets activated and how it may be resisted. In other words, what discursive resources do speakers use for doing power in talk, and what resources do other use in response? Norman Fairclough Perhaps the most comprehensive and programmatic attempt to develop a theory which links discourse, power and social structure can be found in the work of Norman Fairclough. According to Fairclough, critical discourse analysts tend to see power as already accruing to some participants and not to others,

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and this power is determined by their institutional role and their socio-economic status, gender or ethnic identity (Thornborrow, 2002:7). As a result, in CDA, approaching the role of power in discourse tends to be a question of examining how those members of society who posses it, reflect, reinforce, and reproduce it through the language they use, in other words, their discourse practices.

2.4.1.2 Power in Language Power in language is certainly not about what we might initially think of as powerful language (drowning out the voices of others by shouting out, for example). Gal, as quoted by Talbot et al (2003:1), proposes an idea about power, in which he depicts power is more than an authoritative voice in decision making; its strongest form may well be the ability to define social reality, to impose visions of the world. Such visions are inscribed in language and enacted in interaction. While Weedon, also quoted by Talbot et al (2003:1), states that language is the place where actual and possible forms of social organisation and their likely social and political consequences are defined and contested. Yet it is also the place where our sense of ourselves, our subjectivity, is constructed. Power is constituted in many different locations, in many different ways. Language plays an important role to articulate, maintain, and subvert

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existing relations of power in society, both on global, national and institutional levels and on the local level of interpersonal communication. Gal, quoted by Thornborrow (2002:8) suggests that the strongest form of power may well be the ability to define social reality, to impose visions of the world. Such visions are inscribed in language and, most importantly enacted in interaction. In order to analyse how discourse can be powerful, one needs to take into account not just how speakers get to say what they do, but what it is that they say. In other words, what kind of role does power play in the negotiation and construction of meaning? Language in media (television), as previously stated, has distance between the addresser and the addressee so that the distance causes the imbalanced relationship between addresser and addresser. This imbalanced relationship leads to power because of that one-sided communication. Due to the spatial and temporal disjunctions between addresser and addressee, participation in the communication does not take place on an equal basis. While the producers of media text are professional practitioners, the audiences or viewers are not. Mass media has multiple producers but the viewer is a single individual. Therefore, it is important to be fully careful on the power behind mass media, especially television programs.

2.4.1.3 Power in Discourse

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Critical Discourse Analysis sees every discourse as something that is not natural but there is a struggle of power in it. The concept of power is the key of the relationship between discourse and society. For example, the power of men in a discourse of sexism, the power of white people in a discourse about black people and so forth. According to Eriyanto (2001:12), the importance of power in a discourse is to see what is meant by control. One person or one group controls another person or group. Here, control does not mean a physical form of control but it can be in the form of mental or psychic. The dominant group may make the other groups talk and act based on their order. It can only be done by dominant group since they have more access than the less dominance one. The dominant group have access on knowledge, money and education rather than the less dominant group.

2.4.2 Ideology For Fairclough, quoted by Jorgensen and Phillips (2007:139), ideology is meaning which serves power. One can say that ideology is the idea which is expressed through communication. These ideology controls the circulation of messages in society. As stated by Fairclough, quoted by Jorgensen and Phillips (2007:139), discourse can be ideological, the ideological discourse contributes to the effort to maintain and transform relationship of power. Ideology is the central concept of a discourse. Eriyanto (2001:13) argues that text, conversation, and any other kind of discourses are the practices of

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ideology or the reflection of ideology. Classical theory on ideology states that ideology is formed by a particular group to produce and legitimate their domination. One of the strategies is by creating awareness to people that the domination is accepted by taking it for granted. In this approach, discourse is seen as the medium in which the dominant group persuade and communicate to people the production of power and domination that they have, so the power and domination seems right and valid. Therefore, discourse analysis can not place language in a closed box, but it is needed to see the context, especially how ideologies of the existing groups influence the formation of discourse and how such ideology is displayed through the delivery of the messages (meaning). One of the most well-known notions of ideology were proposed by Althusser. For Althusser, ideology is one of the three primary instances or levels of a social formation. As such, it is relatively autonomous from other levels though it is determined by it in the last instance. There are four aspects of Althussers work which are core to his view of ideology: a) Ideology has the general function of constituting subjects Ideology as lived experience is not false b) Ideology is misrecognition of the real condition of existence is false c) Ideology is involved in the reproduction of social formations and their relations of power.

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As stated by Barker (2006:78) Ideology is double-edged for Althusser. The first one, ideology constitutes the real conditions of peoples lives and is not false. The second, on the other hand, ideology is conceived of as a more elaborate set of meanings which make sense of the world (an ideological discourse) in ways which misrecognize and misrepresent power and class relations. In this sense ideology is false. According to Barker (2006:86), assuming that ideology is not confined to the question of class, then ideology can be seen in the following ways: a) World views of dominant groups which justify and maintain their power and which are counterpoised to truth b) World views of any social groups which justify their actions and which are counterpoised to truth c) World views of dominant groups which justify and maintain their power but which can not be counterpoised to truth; however, they can be subject to redescription and thus do not have to accepted d) World views of any social groups which justify their actions but which can not be counterpoised to truth; however, they can be subject to redescription and thus do not have to be accepted.

2.5 Profile of Insert Investigasi and Silet Insert Investigasi is an infotainment program broadcasted on Trans TV. It is broadcast everyday, Sunday to Saturday, at 5.30p.m. Insert Investigasi is quite

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different from Insert Pagi and Insert Siang because it analyses celebritys case deeply in 30 minutes. Silet is infotainment program which is broadcast by RCTI everyday at 11.30 a.m (Monday to Friday) and at 11.00 (Saturday and Sunday). Silet analyses celebrities stories or cases completely and deeply by using poetic language. The deep investigation in one certain topic, issue or gossip makes Silet different from other infotainment programs. It can be proved by the achievement in Panasonic Award 2006 (www.rcti.tv)

2.6 Previous Study A similar study was conducted by Tsuroyya (2005). Tsuroyya conducted a study entitled The Relationship between Ideology and Power as Promoted in DPR tetap Minta Tambah Gaji Rp 15 Juta per Bulan: A Study of Critical Discourse Analysis. The study shows that the text implicitly takes a side on both the house and people Assembly in which these two institutions are certainly the dominant classes who exercise power most toward the ruled readers. What makes my study different from that study above is that, though we have the same case (power and ideology), but the study above analyses newspaper article while this study analyses television program, which is infotainment. Also, the study above focuses on one article while my study will compare the same issue or gossip in two different infotainments.

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Another similar study was conducted by Paulinus Widhi Arto (2006). Paulinus conducted a study entitled Discursive Construction of R.A Kartinis Identity; A Critical Discourse Analysis on the Representation of Feminist in Letters from Kartini, An Indonesian Feminist 1900 1904 Interpreted by Joost Cote. The study shows that the discursive construction of Kartinis identity as a feminist in Joost Cotes translation, is represented in word, grammar and large-scale structure by using the strategies such as by using words (synonym, antonym, hyponymy, formal informal expression, expressive words), grammar (SVO-SV-SVC construction agency, active-passive, positive-negative sentence), and textual structure (large-scale structure of the text). What makes my study different from that study above is that, though we have the same case (critical discourse analysis) and the same theory (Norman Faircloughs theory), but the study above analyses letters from R.A Kartini while this study analyses television program, which is infotainment program. From those two previous studies above, the researcher is able to figure out that the elements of the study of critical discourse analysis are a bit complicated. Besides, this research will enlarge the previous research because it has different object of study (television program).

CHAPTER III

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RESEARCH METHOD

The chapter consists of type of research, data and source of data, instrument of data collection, and data analysis

3.1 Type of Research This study will be conducted by using qualitative approach since it is intended to analyze how the language of the gossip being reported determines the power and ideology of the infotainment by employing the approach of critical discourse analysis by Norman Fairclough. The type of the study is content or document analysis since it uses text as the source of data. According to Ary et al. (2002:442) content or document analysis is a research method that is applied to written or visual materials aiming to identify specified characteristics of the material. The materials can be newspapers, television programs, advertisements, or any types of documents. Moreover, Bouma (1998:77) proposes that content analysis is very much like an observational study but what is being observed is a text, or a film or a television program.

3.2 Data and Source of Data The data of this study is the language elements (metaphors, dictions, cohesive devices and structures) of the gossip which is recorded and transcribed into text while the data sources are two infotainment programs, Insert Investigasi and Silet. The data

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were taken from March to April 2008 because the researcher began conducting the study at that particular time. The data were chosen in the range of the same topic or the same issue since by analyzing the same gossip, which has the element of power and ideology, broadcast in two different infotainment programs. Thus, it will be obvious for the researcher to figure out the result and to compare the result.

3.3 Instrument of Data Collection The key instrument of the data collection used in this qualitative study was the researcher herself. Besides, the additional instrument was voice recorder which is used to record the utterances in those two infotainment program. It was followed by transcribing the recording into the form of text. In addition to this, several steps to collect the data were close reading process and documentary note-taking. Close reading process served as to fully understand the text. After reading the texts for many times, the researcher then took some notes to construct the analysis based on the data obtained.

3.4 Credibility and Dependability In order to guarantee the validity of the data, it is necessary to test the data by using triangulation theory. According to Moleong (2000:178), triangulation is a kind of trustworthiness technique using anything else out side of data for checking, crossing-check, re-checking over the data. Since the researcher uses two data sources to collect the same data, this study uses data triangulation. It is triangulation of data

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sources in which the researcher uses some data sources to collect the same data. In this study, the researcher makes a comparison between the data collected from Insert Invertigasi and the data collected from Silet. The data collected from Insert Investigasi and Silet are in the forms of metaphors, dictions, cohesive devices and sentences structures. Those element will be compare between those which obtained from Insert Investigasi and those which gained from Silet.

3.5 Data Analysis Patton (1980) as quoted by Moleong (2000:103) says that it is the process of managing and organizing the data to be analyzed. Miles and Huberman (1994) define data analysis as consisting of three activities: data reduction, data display and conclusion drawing. Hence, based on Miles and Hubermans definition above, the data will be analyzed through the following steps. 1. Selecting the data which are relevant to the study (metaphor, diction, cohesive device and sentence strucuture) in Insert Investigasi and Silet infotainment program and presenting them. 2. Analyzing and discussing the data obtained in terms of how the language (utterances and narration) on gossip broadcasted in Insert Investigasi and Silet is able to determine power and ideology of those two infotainments by applying the approach on critical discourse analysis by Norman Fairclough (textual analysis)

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3. Comparing the result of the data analysis in Insert Investigasi with the result in Silet 4. Finding the ideology occurs in the gossip of Dewi Perssik in Insert Investigasi and in Silet 5. Elaborating the analysis on socio-cultural practice in order to figure out the social process of the texts (the gossip of Dewi Perssik) 6. Drawing conclusion of the relationship between language, power and ideology in Insert Investigasi and Silet based on the result of textual analysis and socio-cultural practice

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CHAPTER IV FINDING AND DISCUSSION

To figure out the relationship of language, power and ideology in Insert Investigasi and Silet infotainment program, this chapter uses two from three steps of Fairclough Approach, as quoted by Titscher et al (2000:150). They are textual analysis (linguistic analysis) and socio-cultural practice. The following sub-chapters are data description, analysis and discussion. 4.1 Data Description In this part, the researcher presents the data obtained that are going to be analyzed further. The data are the transcription of the gossip of Dewi Perssik that was broadcast on 1 April 2008 (in Silet) and 2 April 2008 (in Insert Investigasi). Here, the researcher arranges the sentences based on the elements of analysis, which are metaphor, diction, cohesive devices and structure of sentences (grammar) that are found in the text (transcription). There will be found the translation of the data, however there are only some of data which are translated, that is the data which are analyzed further. The translation itself is not included in the analysis, thus, it does not need to give the complete translation. It is merely to ease the non-Indonesia speakers in reading this study.

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4.1.1 Silet Below is the data description of the gossip of Dewi Perssik in Silet on 1 April 2008 4.1.1.1 Metaphor These are the metaphors found in gossip of Dewi Perssik in Silet on 1 April 2008 1. Semuanya akan dikupas secara tajam, setajam silet. All will be analyzed sharply, as sharp as razor 2. Usai pertemuan dengan ustad Yusuf Mansur, Dewi meretas jalan menuju ketenangan dalam meniti karir After the meeting with ustad Yusuf Mansur, Dewi begins her way of peace to arrange her career 3. Melalui kepala humas, Syaiful Rahman, pihak wali kota dan warga Tangerang siap membendung Dewi. Through the head of public relation, Syaiful Rahman, the Mayor and citizen of Tangerang are ready to stop Dewi.

1.1.1.2 Diction

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1. Dewi Muria Ani alias Dewi Perssik, salah satu maskot dangdut yang terkenal dengan goyangan gergaji, sedang berada di ambang kehancuran karir

Dewi Muria Ani known as Dewi Perssik, one of dangdut mascots, who is well-known with her saw dance, is in the edge of career destruction 2. Tidak tanggung-tanggung, kabarnya kantor hukum pengacara kondang Otto Cornelius sekaligus sarjana hukum yang ditunjuk berdasarkan aksi-aksi warga untuk meladeni langkah hukum Dewi Perssik dan kuasa hukumnya. Totally, there is news that the famous lawyer, Otto Cornelius, is appointed to deal with the action of Dewi Perssik and her lawyer 3. Benarkah pemaafan pihak wali kota itu beraroma kampanye terselubung? Does the apology given imply illegal campaign? 4. Pencekalan Dewi Perssik untuk tampil di wilayah kotamadya Tangerang dipicu pernyataan salah satu calon wali kotanya yang mensinyalir adanya unsur seronok dan erotis pada aksi panggung Dewi The boycott toward Dewi Perssik to perform in Tangerang is begun by the statement of the Mayor which indicates that there are vulgar and erotic parts in her stage performance.

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5. Cegah tangkal terhadap gaya busana dan goyangan Dewi Perssik, memicu rasa penasaran terhadap masa lalu dan pola didik Dewi Perssik dari lingkup keluarga The boycott toward the clothes and the dance of Dewi Perssik causes curiousity about the past and the education from the family of Dewi Perssik. 6. Kontroversi rencana pencekalan Dewi Perssik, mengulang kembali pro kontra Inul Daratista lima tahun silam The controversy about the boycott toward Dewi Perssik, repeats the pro contra of Inul Daratista five years ago. 7. Segenap selebritas, termasuk H. Rano Karno, aktor yang menjadi wakil bupati Tangerang, artis dan aktivis perempuan Rieke Diah Pitaloka, Trio Macan, serta mantan suaminya Saiful Jamil, ikut menanggapi kekisruhan pencekalan Dewi Perssik. All celebrities, including H. Rano Kartno, actor and vice regent of Tangerang, artist and woman activist, Rieke Diah Pitaloka, Trio Macan, also Dewi Perssiks ex-husband, Saiful Jamil, take turn to response the chaos of boycott toward Dewi Perssik. 8. Bagaimana laju karir Dewi Perssik di tengah kemelut pencekalan yang menimpa dirinya? How is Dewi Perssiks career among the mess of the boycott toward her?

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9. Sejak minggu lalu terjadi perang pernyataan antara Dewi Perssik dan pihak wali kota yang memicu pada argumen atau serangan ke arah pribadi yang terkait dan bukan pada persoalan Since last week, there was a battle of statement between Dewi Perssik and the Mayor which causes arguments or personal attack to the related person, not to the problem. 10. Merasa dirinya terus menerus mendapat sorotan, awal pekan ini, tepatnya pada hari Senin kemarin, Dewi mendatangi ustad Yusuf Mansur Being the center of attraction, the beginning of this week, precisely last Monday, Dewi came to ustad Yusuf Mansur 11. Wacana pencekalan Dewi Perssik semakin memanas setelah tim kuasa Dewi Perssik berencana akan melakukan somasi terhadap wali kota Tangerang, H Wahidin Halim The planning of boycott toward Dewi Perssik is getting hotter after the lawyer of Dewi Perssik plans to send letter of somation to the mayor of Tangerang, H. Wahidin Halim 12. Di tengah tingginya tensi kekisruhan, selepas pertemuan Dewi dan ustad Yusuf Mansur tadi malam, secara mengagetkan pihak wali kota melalui humasnya, wali kota Tangerang, H Saiful Rahman menyatakan memaafkan bahkan mendoakan Dewi Perssik.

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In the high tension of the conflict, after the meeting between Dewi and ustad Yusuf Mansur last night, surprisingly, the Mayor, through his public relation staff, the Mayor of Tangerang, H Saiful Rahman, states that he has already forgiven Dewi Perssik and even prayed for her. 13. Ketegangan wali kota dan Dewi Perssik berawal dari pernyataan sang wali kota di sebuah media yang menyoal busana dan goyangan erotis Dewi Perssik yang dituding menabrak keluar dari akhlakul karimah yang menjadi pusat kemaslahatan kotamadya Tangerang The tension between the Mayor and Dewi Perssik begins with the statement of the Mayor in a media, which raise a matter on Dewi Perssiks clothes and erotic shake, which is accused to break the akhlakul karimah, the center of maslahat in Tangerang 14. Kepada tim silet, wali kota Tangerang mengaku hingga saat ini belum melakukan pencekalan terhadap Dewi Perssik, tetapi hanya menghimbau agar para pedangdut yang akan tampil di Tangerang memperhatikan gaya busana dan aksi panggungnya agar tidak kebablasan. To Silet team, the Mayor admits, until now, he has not carried out the boycott yet, but just gives the suggestion to dangdut singers who will perform in Tangerang to pay attention to their clothes and performance on stage, not to be out of rules.

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15. Kasus rencana pencekalan terhadap Dewi Perssik kuat diduga terlanjur dipolitisir oleh pihak-pihak tertentu The case of the planning of boycott toward Dewi Perssik is already politized by certain groups of people.

4.1.1.3 Cohesive devices There are many kinds of cohesive devices, however this study will focus only on three kinds of cohesive devices. They are conjunction, repetition and reference. a. Conjunction Below is the conjunction found in gossip of Dewi Perssik in Silet Table 4 conjunction in Silet
No 1 2 3 4 5 6 7 8 9 10 Conjunction Namun However Bak Like Sekarang Now Selain Besides Tetapi But Juga Also Bak Like Kontrasnya On the contrary Bahkan Even Sebelumnya Location Silet, 1 April 2008, 11:13, Line 3 Line 7 Line 8 Silet, 1 April 2008, 11:25, Line 34 Line 61 Line 61 Line 68 Line 73 Silet, 1 April 2008, 11:36, Line 80 Line 87

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11 12

Before Tetapi But Nampaknya Seemingly

Line 89 Line 93

b. Repetition Below is the description of the repetition found in the gossip of Dewi Perssik in Silet on 1 April 2008:

1. Di panggung dangdut, apapun irama dan isi lagu rasanya kurang afdol tanpa goyangan. Irama lagu terasa kian mistis dan menggelora dengan badan yang meliuk-liuk atau tangan berputar-putar On the dangdut stage, whatever the rhytm and the contenct of the songs are, it seems ineduquate without shake. The rhytm is felt more mystical and hot with the moving body or circling hands. 2. Tekanan, desakan dan hujatan pencekalan terhadap Dewi Perssik, melintas pada karir dan kehidupan pribadinya. Pencekalan pihak wali kota Tangerang atas busana dan goyangan Dewi Perssik yang dinilai seronok dan erotis menimbulkan efek tak terduga pada aktivitas karir Dewi Perssik

Pressure, force, and mock of boycott toward Dewi Perssik acrosses her career and personal life. The boycott from the mayor of Tangerang because of the

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clothes and the shake of Dewi Perssik which is assumed as vulgar and erotic, has caused unpredictable effect to her career. c. Reference These are the references found in the gossip of Dewi Perssik in Silet on 1 April 2008

Table 5 references in Silet

No 1 2 3 4 5 6 7 8 9 Reference Itu in Kisruh pencekalan itu the in the mess of the boycott sang ustad aksi-aksi warga Actions of citizen itu in pihak wali kota itu the in the mayor -nya in keluarganya her in her family itu that -nya in ayah bundanya her in her parents -nya in mantan suaminya her in her ex-husband Anda Location Silet, 1 April 2008, 11:13, Line 4 Line 6 Line 10 Line 13 Line 20 Line 20 Line 22 Line 26 Line 29

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10 11 12 13 14 15 16 17 18 19 20 21 22 23

You itu that -nya in dirinya her in herself sang ustad -nya in dirinya her in herself -nya in goyang gergajinya her in her saw shake -nya in dirinya her in herself itu in janda muda berusia 22 tahun itu -nya in karirnya her in her career ini in beberapa waktu belakangan ini this in this recent time -nya in idolanya her in her idol itu -nya in popularitasnya her in her popularity itu itu in nasihat itu the in the advice Reference -nya in dirinya -nya in humasnya his public relation staff" sang in sang wali kota -nya in dirinya her in herself sang in sang wali kota -nya in panggungnya her in her stage -nya in dirinya her in herself -nya in panggungnya her in her stage -nya in dirinya her in herslf -nya in panggungnya

Line 35 Line 37 Line 39 Line 40 Line 43 Line 50 Line 53 Line 54 Line 55 Line 55 Line 55 Line 57 Line 58 Line 62

Continued
No 24 25 26 27 28 29 30 31 32 33 Location Line 77 Line 82 Line 84 Line 87 Line 87 Line 91 Line 92 Line 99 Line 105

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her in her stage

Line 108

4.1.1.4 Structure of sentence Here is the display of sentence structures. The data will be displayed all but the translation of the sentence (Indonesia English) will only be shown some of them which are analyzed further in stage of holistic analysis (opening, body, closing) and in the part of metaphor and diction. a) SVO 1. Kisruh pencekalan itu menggerogoti kesenangan Dewi Perssik sehingga senin S V O

kemarin Dewi secara khusus mendatangi ustad Yusuf Mansur. The boycott has disturbed Dewi Perssiks pleasure so that last Monday, Dewi, specially, visits ustad Yusuf Mansur 2. Tidak tanggung-tanggung, kabarnya kantor hukum pengacara kondang Otto Cornelius sekaligus sarjana hukum yang ditunjuk berdasarkan aksi-aksi warga untuk meladeni langkah hukum Dewi Perssik dan kuasa hukumnya Totally, there is news that the famous lawyer, Otto Cornelius, is appointed to serve the action of Dewi Perssik and her lawyer 3. Di tengah gemuruh suara desakan warga, calon walikota Tangerang yang saat ini sedang menjabat malah memaafkan bahkan mendoakan Dewi Perssik

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Among the force of the citizen, the mayor to be, who is ruling now, accidentally forgives, even prays for Dewi Perssik. 4. Pencekalan Dewi Perssik untuk tampil di wilayah kotamadya Tangerang dipicu pernyataan salah satu calon wali kotanya yang mensinyalir adanya unsur seronok dan erotis pada aksi panggung Dewi. The boycott toward Dewi Perssik to perform in Tangerang began by the statement of the Mayor which indicates that there are vulgar and erotic parts in her stage performance. 5. Cegah tangkal terhadap gaya busana dan goyangan Dewi Perssik, memicu rasa penasaran terhadap masa lalu dan pola didik Dewi Perssik dari lingkup keluarga The boycott toward the clothes and the dance of Dewi Perssik causes curiousity about the past and the education from the family of Dewi Perssik. 6. Kontroversi rencana pencekalan Dewi Perssik, mengulang kembali pro kontra Inul Daratista lima tahun silam. The controversy about the boycott toward Dewi Perssik, repeats the pro contra of Inul Daratista five years ago 7. Segenap selebritas, termasuk H. Rano Karno, aktor yang menjadi wakil bupati Tangerang, artis dan aktivis perempuan Rieke Diah Pitaloka, Trio

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Macan, serta mantan suaminya Saiful Jamil, ikut menanggapi kekisruhan pencekalan Dewi Perssik All celebrities, including H. Rano Kartno, actor and vice regent of Tangerang, artist and woman activist, Rieke Diah Pitaloka, Trio Macan, also Dewi Perssiks ex-husband, Saiful Jamil, take turn to response the chaos of boycott toward Dewi Perssik 8. Kabarnya senin petang kemarin Dewi didemo sejumlah massa Last Monday evening, Dewi is protested by groups of people 9. Pernyataan wali kota yang menyoal gaya busana dan aksi panggung Dewi Perssik bersama sejumlah penyanyi dangdut, selain memicu tanggapan keras dari Dewi serta menimbulkan keresahan di hati penyanyi berusia 22 tahun itu 10. Merasa dirinya terus menerus mendapat sorotan, awal pekan ini, tepatnya pada hari Senin kemarin, Dewi mendatangi ustad Yusuf Mansur 11. . Di awal pekan ini, pasca kabar heboh pencekalan salah satu maskot dangdut yang terkenal dengan goyang gergajinya, tanpa diduga, kabarnya, senin petang kemarin didemo oleh sekelompok orang 12. Merasa dirinya terus menerus menjadi sorotan hari senin kemarin, Dewi Perssik mengadakan pertemuan dengan ustadz Yusuf Mansur sebagai salah satu cara untuk melakukan intorspeksi diri.

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13. Ustad Yusuf Mansur yang juga penggemar Dewi Perssik memberikan sejumlah nasehat dan penyejuk iman agar Dewi kuat menghadapi cobaan yang tengah menghadang karir dan popularitasnya 14. Usai pertemuan dengan ustad Yusuf Mansur, Dewi meretas jalan menuju ketenangan dalam meniti karir 15. Melalui kepala humas, Syaiul Rahman, pihak wali kota dan warga Tangerang siap membendung Dewi. 16. Kontrasnya, di tengah gemuruh aksi-aksi warga yang ingin membendung Dewi, sang wali kota H Wahidin Halim justru memaafkan bahkan mendoakan Dewi Perssik 17. Memanasnya kontroversi seputar rencana pencekalan Dewi Perssik yang bergulir sejak pertengahan minggu lalu sempat memunculkan perang pernyataan yang keras antara Dewi Perssik dan pihak wali kota Tangerang, H Wahidin Halim 18. Bahkan pihak kuasa hukum Dewi kini melayangkan somasi kepada pihak wali kota 19. Usai Dewi Perssik mangklarifikasi media yang memuat berita rencana pencekalan dirinya oleh pemkot Tangerang, nampaknya wali kota sudah

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mengantasipasi masalah itu dari kemungkinan-kemungkinan langkahlangkah Dewi dan kuasa hukum selanjutnya 20. Pencekalan pihak wali kota Tangerang atas busana dan goyangan Dewi Perssik yang dinilai seronok dan erotis menimbulkan efek tak terduga pada aktivitas karir Dewi Perssik 21. Bak berbalas pantun, pihak wali kota Tangerang pun tak mau kalah menuntut pertanggung jawaban Dewi Perssik 22. Di tengah tingginya tensi kekisruhan, selepas pertemuan Dewi dan ustad Yusuf Mansur tadi malam, secara mengagetkan pihak wali kota melalui humasnya, wali kota Tangerang, H Saiful Rahman menyatakan memaafkan bahkan mendoakan Dewi Perssik. 23. Sebelumnya Dewi sempat kecewa dengan wacana pencekalan dirinya yang digulirkan sang wali kota karena diduga membunuh karakter Dewi dalam berkarir di panggung dangdut 24. Kepada tim silet, wali kota Tangerang mengaku hingga saat ini belum melakukan pencekalan terhadap Dewi Perssik, tetapi hanya menghimbau agar para pedangdut yang akan tampil di Tangerang memperhatikan gaya busana dan aksi panggungnya agar tidak kebablasan.

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25. Kasus rencana pencekalan terhadap Dewi Perssik kuat diduga terlanjur dipolitisir oleh pihak-pihak tertentu 26. Kabarnya senin petang kemarin Dewi didemo sebagai buntut dari kasus rencana pencekalan Dewi Perssik 27. Bak berbalas pantun, gelagat pencekalan atas Dewi kian meningkat setelah dikabarkan somasi dari kuasa hukun Dewi terhadap pihak wali kota Tangerang, sekarang giliran warga kotamadya Tangerang yang balik berencana melawan Dewi Perssik 28. Kasus Dewi Perrsik dirancang seperti Inul babak kedua 29. Kabarnya tidak tanggung-tanggung, kantor pengacara Otto Cornelius sekaligus sarjana hukum ditunjuk untuk menghadang rencana somasi Dewi 30. Bagaimanakah Dewi Perssik dibesarkan dan diatur orang tua dan keluarganya? 31. Bagaimana wali kota dan warga Tangerang menyikapi wacana cegah tangkal terhadap Dewi Perssik? 32. Kasus rencana pencekalan terhadap Dewi Perssik kuat diduga terlanjur dipolitisir oleh pihak-pihak tertentu 33. Mungkinkah panggungnya? Dewi Perssik memperbaharui gaya busana dan aksi

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34. Benarkah Dewi mulai memperbaharui gaya busana dan aksi panggungnya? b) SVC 1. Di panggung dangdut, apapun irama dan isi lagu rasanya kurang afdol tanpa S goyangan On dangdut stage, whatever the rhytm and the content of the song are, it seems inadequate without shaking V C

2. Apa maksud kedatangan Dewi di rumah sang ustad? What is the intention of Dewis coming to ustads house? 3. Saksikan pengakuan eksklusif Dewi Perssik kepada tim Silet. Watch the exclusive confession of Dewi Perssik to Silet team. 4. Selamat siang pemirsa Good afternoon viewers 5. Sejak minggu lalu terjadi perang pernyataan antara Dewi Perssik dan pihak wali kota yang memicu pada argumen atau serangan ke arah pribadi yang terkait dan bukan pada persoalan

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Since last week, there was a battle of statement between Dewi Perssik and the Mayor which causes arguments or personal attack to the related person, not to the problem. 6. Aksi demo di area sekitar apartemen Dewi di bilangan Kuningan Jakarta Selatan dan aksi pembakaran foto di Bogor kabarnya terkait erat dengan kasus rencana pencekalan Dewi Perssik untuk tampil di wilayah kotamadya Tangerang yang berlangsung minggu lalu. 7. Sejak kontroversi pencekalan yang bergulir selama sepekan ini telah terjadi perang pernyataan yang mulai menohok serangan pribadi antara Dewi Perssik dan pihak wali kota Tangerang yang sungguh menguras emosi jiwa dan melelahkan pikiran 8. Kehadiran janda muda berusia 22 tahun itu meretas kisah dan menguatkan dugaan bahwa Dewi sedang meminta tausiyah atas persoalan yang sedang mengganjal karirnya pada beberapa waktu belakangan ini 9. Maklum Dewi termasuk salah satu jamaah pengajian ustad yang juga idolanya itu 10. Tausiyah ustad Yusuf Mansur pada Dewi Perssik bukan sekedar nasehat agama yang diberikan kepada orang yang terbelit persoalan kehidupan tetapi juga pada orang iman agar bersikap secara dewasa

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11. Ustad Yusuf Mansur mendorong ketenangan yang lebih personal dalam diri Dewi Perssik. 12. Ketegangan wali kota dan Dewi Perssik berawal dari pernyataan sang wali kota di sebuah media yang menyoal busana dan goyangan erotis Dewi Perssik yang dituding menabrak keluar dari akhlakul karimah yang menjadi pusat kemaslahatan kotamadya Tangerang 13. Dewi Perssik melangkah pasti mengatasi kontroversi 14. Tekanan, desakan dan hujatan pencekalan terhadap Dewi Perssik, melintas pada karir dan kehidupan pribadinya Pressure, force, moke of boycott toward Dewi Perssik accrosses her way of career and personal life. 15. Namun di wilayah kotamadya Tangerang permasalahan ternyata masih panjang dan alot 16. Benarkah pemaafan pihak wali kota itu beraroma kampanye terselubung? 17. Benarkah goyangan Dewi seronok dan penuh trik-trik sensual? 18. Benarkah penyanyi kelahiran Jember Jawa Timur itu, demi karir serta popularitas, sudah berlaku terlalu jauh dari norma dan kaidah kesantunan yang diwariskan ayah bundanya? 19. Apa maksud kedatangan Dewi ke tempat sang ustad?

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20. Benarkah Dewi Perssik merasa dirinya sedang terancam? 21. Apakah dengan nasehat itu akan berdampak suatu ketenangan hidup bagi Dewi Perssik? 22. Bagaimanakah dengan reaksi pihak wali kota Tangerang atas pernyataan Dewi? 23. Benarkah pernyataan maaf dari wali kota menjadi ajang kampanye terselubung mengingat pencalonan kembali dirinya dalam suksesi

kepemimpinan kota madya Tangerang? c) SV 1. Panggung dangdut kembali bergoyang S V

Dangdut stage shakes again

2. Dewi Muria Ani alias Dewi Perssik, salah satu maskot dangdut yang terkenal dengan goyangan gergaji, sedang berada di ambang kehancuran karir Dewi Muria Ani known as Dewi Perssik, one of dangdut mascots, who is well-known with her saw dance, is in the edge of career destruction

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3. Saya Dona Arsinta, akan berada di hadapan Anda selama satu jam ke depan untuk menyimak kisah dan kasus para selebritis serta mengangkat hal-hal yang tabu menjadi patut dan layak diperbincangkan 4. Semuanya akan dikupas secara tajam, setajam silet All will be analyzed sharply, as sharp as razor 5. Kasus rencana pencekalan Dewi Perssik oleh pihak Wali Kota Tangerang semakin alot 6. Irama lagu terasa kian mistis dan menggelora dengan badan yang meliukliuk atau tangan berputar-putar The rhytm feels more mystical and hot with the moving body and circling hands 7. Berbicara persoalan selebritas dengan ahli agama yang akrab dengan kalangan selebritas itu begitu mencengangkan. 8. Wacana pencekalan Dewi Perssik semakin memanas setelah tim kuasa Dewi Perssik berencana akan melakukan somasi terhadap wali kota Tangerang, H Wahidin Halim 9. Seperti berkah dalam kemalangan, permintaan terhadap Dewi justru meningkat dan sama sekali tidak terpengaruh isu pencekalan dirinya 10. Senin kemarin, Dewi baru saja tampil di Bandung Jawa Barat

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11. Bagaimana laju karir Dewi Perssik di tengah kemelut pencekalan yang menimpa dirinya? 12. Benarkah kasus Dewi belum selesai? 13. Benarkah sang Dewi kian melejit setelah diuji dengan berbagai sakit dan persoalan hidup? 14. Benarkah Dewi Perssik bakal berpaling dari dunia hiburan?

d) SVVO Di tengah kecaman dan protes, Dewi Perssik tetap laris manis dan semakin mendapat simpati dan kekaguman dari khalayak banyak. Among threaten and protest against her, Dewi Perssik is still popular and gets many symphaty from public.

4.1.2 Insert Investigasi Below is the data description of the gossip of Dewi Perssik in Insert Investigasi on 2 April 2008

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4.1.2.1 Metaphor These are the metaphors found in gossip of Dewi Perssik in Insert Investigasi 1. Dewi Perssik masih berselimutkan amarah Anger covers Dewi Perssik 2. Namun bukan decak kagum yang berselimutkan simpati, melainkan yang mengundang birahi However, not amazement in sort of sympathy, but amazement in sort of passion or desire

4.1.2.2 Diction These are the dictions found in broadcasting the gossip of Dewi Perssik in Insert Investigasi (2 April 2008): 1. Geliat tubuh di atas panggung mengikuti irama dangdut dikecam The body follows the rhythm of dangdut is threathened 2. Tak kalah Gerang, Dewi Perssik pun meradang Dewi Perssik also gets furious 3. Perseteruannya dengan wali kota Tangerang, Wahidin Halim, kian berkobar

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Her conflict against the mayor of Tangerang, Wahidin Halim, is getting hotter 4. Sementara sang wali kota bagai mendapat bantuan armada ketika beberapa kelompok masyarakat Tangerang menyatakan dukungannya Meanwhile, the mayor gains help of a troop when a number of groups of Tangerang citizen give the support 5. Pertikaian ini pun mengoyak luka lama yang dulu sempat menyayat tubuh musik dangdut This conflict tears old wound that has scared dangdut 6. Bahkan goyang demi goyang makin menggila Even the dance is getting more lunatic 7. Belum hilang ingatan bagaimana dada Dewi Perssik dicolek seorang pria, kini pedangdut sexy tersebut lagi-lagi diterpa badai Still fresh in mind how a man touched Dewi Perssiks breast, now, that sexy dangdut singer faces another storm 8. Pernyataan pedas Dewi yang menantang Wahidin Halim justru

mendatangkan kecaman dari sebagian masyarakat Tangerang 9. Dewi Perssik tak terima dirinya dituding sebagai artis seronok Dewi can not accept if people call her artis serono

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10. Faktanya, dangdut dengan goyang yahud plus pakaian minim penyanyinya mendapat animo besar dari penggemarnya In fact, dangdut with sexy shake plus the sexy clothes of the singer will get huge attention from its fans 11. Namun bukan decak kagum yang berselimutkan simpati, melainkan yang mengundang birahi However, not amazement in sort of sympathy, but amazement in sort of passion or desire 12. Dan setelah tiga bulan berlalu, Dewi tetap saja tak berubah. And after three months passes, Dewi has not changed 13. Tetap saja Dewi seorang wanita yang gampang meledak tatkala kebebasannya diusik. She is still a woman who explodes when her freedom is disturbed. 14. Annisa Bahar yang dikenal sebagai pemilik goyang patah-patah mengaku miris setiap kali Dewi Perssik tampil layaknya seorang penari striptease Annisa Bahar who is well-known with patah-patah shake admits that she is quite sad everytime she sees Dewi Perssik perfoms like striptease dancer 15. Mampukah sang Dewi menghadapi kecaman yang datang bertubi-tubi menghantam?

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Can Dewi Perssik encounter the treathens come? 16. Di satu sisi ada Rhoma Irama, si raja dangdut yang mengusung aliran dangdut bermartabat On one side, there is Rhoma Irama with prestigious dangdut 17. Sementara di sisi lain ada pedangdut yang dituding sebagai pembangkang While on the other side, there are dangdut singers who are accused as the rebellers. 18. Namun dua tahun setelah Rhoma berkoar-koar soal goyang erotis, Dewi Perssik masih tetap lihai di atas pentas However, after two years Rhoma Irama shouts about erotic dance or shake, Dewi Perssik still performs her sexy shake 19. Dihujani cacian dan hujatan justru semakin memperkuat benteng pertahanan Dewi Perssik 20. Lebih parah lagi, Dewi Perssik bahkan menuding Wahidin Halim hanya memperalatnya demi mendongkrak popularitasnya sebagai persiapan masa pemilihan ketua daerah yang akan diadakan dalam waktu dekat ini 21. Meski tidak selalu setuju dengan aksi panggung Dewi Perssik, namun Annisa justru menentang keras aksi pejabat yang coba melakukan pencekalan terhadap para penyanyi dangdut.

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Though she does not always agree with Dewi Perssiks stage performance, but Annisa fights against the action of the ruling class who attempt to boycott dangdut singers.

4.1.2.3 Cohesive Devices The following descriptions are the cohesive devices taken from the gossip of Dewi Perssik broadcast by Insert Investigasi (2 April 2008). Cohesive devices in this study include conjunction, repetition referring expression.

a. Conjunction This description presents the conjunctions taken from the broadcasting of the gossip of Dewi Perssik in Insert Investigasi at 2 April 2008: Table 6 conjunctions in Insert Investigasi
No 1 2 3 4 5 6 6 Conjunction Sementara While Ketika When Bahkan Even Namun However Bahkan Even Jika If Juga Also Location Insert Investigasi, 2 April 2008, 17:45, line 6 Line 7 Line 8 Line 12 Line 12 Line 13 Line 13

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7 8 9 10 11 12 13 14 15

Toh Justru Ya Kini Now Ya Justru Accidentally Sementara While Faktanya In fact Sepertinya (Like)

Line 15 Line 16 Line 18 Line 21 Line 22 Line 23 Line 25 Line 28 Insert Investigasi, 2 April 2008, 17:53, line 30

Continued
No 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 Conjunction Memang Well Namun However Melainkan Although Dan And Lantas Then Kini Now Juga Also Dan And Juga Also Sekali lagi Once more Ketika When Justru Accidentally Dan And Sejak Since Di satu sisi Location Line 36 Line 36 Line 37 Line 37 Line 38 Line 43 Line 44 Line 45 Line 47 Line 50 Line 51 Insert Investigasi, 2 April 2008, 18:01, line 52 Line 53 Line 55 Line 55

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31 32 33 34 35 36 37

On one side Sementara While Di sisi lain On other side Belakangan Lately Ketika When Justru Acciedentally Namun However Memang Well

Line 57 Line 57 Line 59 Line 60 Line 61 Line 63 Line 66

Continued
No 38 39 40 41 42 43 44 45 46 47 48 49 50 51 Conjunction Namun However Bahkan Even Justru Accidentally Meski Although Lebih parah lagi Even worse Bahkan Even Meski Although Namun However Sebenarnya Indeed Hanya saja But Apalagi Moreover Memang Well Dan And Namun Location Line 67 Line 70 Insert Investigasi, 2 April 2008, 18:09, line 71 Line 74 Line 76 Line 76 Line 79 Line 80 Line 82 Line 83 Line 84 Line 87 Line 88 Line 89

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However

b. Repetition There are some repetitions found in the text of Dewi Perssik recorded from Insert Investigasi, they are: 1. Goyang Namun, sekeras apapun suara-suara yang ingin mengekang, goyang dangdut terus berkembang. Bahkan goyang demi goyang makin menggila. Jika Dewi Perssik muncul dengan goyang gergajinya, ada juga Annisa Bahar dengan goyang patah-patahnya However, how loud the sound to fight is, dangdut shake still grows up and develops. Even the shake is getting more lunatic. If Dewi Perssik has gergaji shake, there is Annisa bahar with patah-patah shake. 2. syaiful Syaiful pun tertegun. Syaiful hafal betul watak Dewi Perssik. Kekerasan hati Dewi juga lah yang akhirnya membuat Syaiful mengajukan gugatan cerai untuk Dewi. Syaiful can merely be in silence. Syaiful knows exactly Dewis character. The stubbornness of Dewi also makes Syaiful to divorce her 3. tetap saja

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Dan setelah tiga bulan berlalu, Dewi tetap saja tak berubah. Tetap saja Dewi seorang wanita yang gampang meledak tatkala kebebasannya diusik. And after three months passes, Dewi has not changed. She is still a woman who explodes when her freedom is disturbed. c. Reference The references taken from Insert investigasi are:

Table 7 references in Insert Investigasi No 1 2 3 4 5 6 7 Reference -nya in perseturuannya the in the conflict sang in sang wali kota -nya in dukungannya their in their support disana there ini in pertikaian ini this in this conflict yang dulu para pedangdut in para pedangdut yang mengandalkan goyang sexy plus dengan pakaian ketat dan minim -nya in goyang gergajinya her in her saw shake Location Insert Investigasi, 1 April 2008, 17:45, line 5 Line 6 Line 8 Line 8 Line 8 Line 9 Line 10

Line 13

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-nya in goyang patahpatahnya her in her patah-patah shake 10 mereka they 11 -nya in pendukungnya his in his followers 12 yang lainnya the others 13 -nya in mantan istrinya his in his ex-wife 14 tersebut 15 ini in kali ini this in this time 16 ini in inilah 17 -nya in pertikaiannya the in the conflict 18 -nya in dirinya her in herself 19 dia She 20 -nya in musiknya the in the music 21 -nya in penyanyinya the in the singer Continued No 22 23 24 25 26 27 28 Reference -nya in penggemarnya the in the fans sang in sang dewi -nya in penampilannya her in her performance -nya in penggemarnya her in her fans -nya in keberaniannya her in her courage -nya in penampilannya her in her performance -nya in kelebihannya her in her plus

Line 14 Line 15 Line 16 Line 16 Line 18 Line 18 Line 19 Line 20 Line 22 Line24 Line 25 Line 27 Line 29

Location Line 29 Insert Investigasi, 2 April 2008, 17:53, line 30 Line 30 Line 31 Line 35 Line 36 Line 37

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29 30 31 32 33 34 35 36

-nya in dirinya her in herself -nya in kebebasannya her in her freedom -nya in penampilannya her in her performance itu in luka itu that in that scar -nya in karirnya her in her career -nya in memboikotnya her in boycott her sang dewi

Line 38 Line 41 Line 42 Line 45 Line 46 Line 46 Insert Investigasi, 2 April 2008, 18:01, line 49 Line50 Line 51 Line 53 Line 55 Line 56

-nya in penggemarnya her in her fans 37 si raja dangdut the king of dangdut 38 ada in ada pedangdut there in there is dangdut singer 39 mereka their 40 ini In para penggoyang sexy ini these in these sexy dancers Continued No 41 42 43 44 45 46 47 48 Reference ini in kenyataan ini this in this fact -nya in kelihaiannya her in -nya in diusianya her in her 22nd years old ia she sang wali kota sang dewi sang dewi -nya in bibirnya

Location Line 57 Line 59 Line 64 Line 64 Line 65 Insert Investigasi, 2 April 2008, 18:09, line 67 Line 68 Line 68

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49 50 51 52 53 54 55 56 57 58 59 60 61 62

her in her mouth -nya in dirinya her in herself -nya in mendukungnya her in support her -nya in memperalatnya her in use her -nya in popularitasnya his in his popularity ini -nya in juniornya her in her junior -nya in namanya her in her name -nya in hatinya her in her heart dia she -nya in keluarganya her in her family -nya in untuknya her in for her -nya in penyanyinya the in the singers itu in setiap ujian itu sang dewi

Line 69 Line 70 Line 71 Line 72 Line 73 Line 74 Line 78 Line 79 Line 79 Line 80 Line 80 Line 81 Line 84 Line 84

4.1.2.4 Structure of Sentence (Grammar) Based on the text o the gossip o Dewi Perssik in Insert Investigasi, the researcher has found some structures of sentences. Not all of them are translated, but only few sentences. Here are the lists: a) SVO 1) Sementara sang wali kota bagai mendapat bantuan armada ketika

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beberapa kelompok masyarakat Tangerang menyatakan Meanwhile, the mayor gains help of a troop when a number of groups of Tangerang citizen give the support 2) Bahkan ada yang melarang kaset dan CD Dewi beredar disana Even, some prohibit the cassette and CD of Dewi Perssik to be sold there 3) Pertikaian ini pun mengoyak luka lama yang dulu sempat menyayat tubuh musik dangdut Conflict tears old wound that has scared dangdut 4) Dewi Perssik sama sekali tidak takut menantang badai Dewi Perssik is not afraid to fight against the storm 5) Syaiful Jamil sampai terkesima melihat kenekatan mantan istrinya tersebut 6) Ya, sejak bercerai, Dewi memang tak pernah usai dirundung masalah 7) Belum hilang ingatan bagaimana dada Dewi Perssik dicolek seorang pria, kini pedangdut sexy tersebut lagi-lagi diterpa badai. 8) Kata-kata pedas dia lontarkan 9) Musiknya yang mendayu-dayu memang membangkitkan aliran darah untuk segera bergoyang

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10) Faktanya, dangdut dengan goyang yahud plus pakaian minim penyanyinya mendapat animo besar dari penggemarnya 11) Dan usaha sang Dewi untuk terus menghibur menuai kontroversi, layaknya yang pernah menimpa Inul Daratista And the effort of sang Dewi to keep entertaining, result controversy, like what has happened to Inul Daratista 12) Namun karena kelebihannya itu pula, Dewi tak pernah berhenti dirundung masalah But, because of those plus things, problems never stop coming to her life 13) Syaiful hafal betul watak Dewi Perssik Syaiful knows exactly Dewis character 14) Kekerasan hati Dewi Perssik untuk membela penampilannya di atas panggung juga mendatangkan kritik dari sesama pedangdut. 15) Mampukah sang Dewi menghadapi kecaman yang datang bertubi-tubi menghantam? 16) Di satu sisi ada Rhoma Irama, si raja dangdut yang mengusung aliran dangdut bermartabat

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17) Rhoma didukung para artis seperti Iis Dahlia, Ikke Nurjanah, Camelia Malik, Elvie Sukaesih dan Cici Faramida 18) Salah satu contoh adalah trio macan yang selalu menonjolkan keseksian tubuh mereka di atas panggung. 19) Keberanian bergoyang di atas panggung memang bukan hanya dilakoni Dewi Perssik seorang 20) Namun, untuk pemerintah kota Tangerang, hanya Dewi Perssik pedangdut local yang mendapat teguran. 21) Di usianya yang masih 22 tahun ia berani menantang badai 22) Bahkan ia melontarkan kritik pedas untuk sang wali kota 23) Dihujani cacian dan hujatan justru semakin memperkuat benteng pertahanan Dewi Perssik 24) Dengan dukungan dari orang terkasih, sang Dewi pun menerjang badai 25) Sang Dewi terus melangkahkan kakinya Sang Dewi keep step forward 26) Lebih parah lagi, Dewi Perssik bahkan menuding Wahidin Halim hanya memperalatnya demi mendongkrak popularitasnya sebagai persiapan masa pemilihan ketua daerah yang akan diadakan dalam waktu dekat ini.

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27) Annisa Bahar punya pendapat sendiri untuk juniornya tersebut 28) Meski tidak selalu setuju dengan aksi panggung Dewi Perssik, namun Annisa justru menentang keras aksi pejabat yang coba melakukan pencekalan terhadap para penyanyi dangdut 29) Sebenarnya Dewi Perssik juga setuju kalau aksi yang dianggap sebagai pornoaksi mendapat teguran 30) Hanya saja cara walikota yang menyebut namanya sebagai artis sensual di depan khalayak membuat hatinya tersinggung 31) Hidup memang diwarnai sejuta misteri Life is full of mystery 32) Hanya umat yang berserah kepada Sang Kuasa yang sanggup mengatasi badai yang menerpa Only people who give everything to God are able to encounter the storm 33) Dan biarlah setiap ujian itu mampu mendewasakan diri And, let every problem makes us more mature b) SVC 1) Dewi Perssik masih berselimutkan amarah S V C

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Anger covers Dewi Perssik

2) Lantas hingga kapan goyang dangdut menimbulkan pro dan kontra yang tak berujung? 3) Setitik pun Dewi Perssik tak ingin undur langkah Dewi does not want to step back, even for a little bit 4) Rhoma irama berdiri di garda depan penentang para pedangdut yang mengandalkan goyang sexy plus dengan pakaian ketat dan minim yang mempertontonkan mulusnya kulit pedangdut Rhoma irama stand in the front row to fight against Dangdut singers who show their sexy dance with sexy clothes to show off their beautiful skin 5) Inul Daratista pernah bersimbah air mata Inul daratista had ever cried a river 6) Jika Dewi Perssik muncul dengan goyang gergajinya, ada juga Annisa Bahar dengan goyang patah-patahnya If Dewi Perssik has gergaji shake, there is Annisa bahar with patah-patah shake 7) Goyang ngebor dicekal, seribu goyang lain muncul bak cendawan di musim hujan

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Ngebor shake is boycotted, other thousand shakes come like mushroom in rainy season. 8) Toh mereka punya pasar They have their own market 9) Pagelaran musik dangdut nyaris tak pernah sepi Dangdut music performance will never lose the audiences 10) Pernyataan pedas Dewi yang menantang Wahidin Halim justru mendatangkan kecaman dari sebagian masyarakat Tangerang 11) Sementara pemerintah kota Tangerang sebaliknya mengancam akan memboikot Dewi Perssik kalau masih tetap tampil vulgar dan seronok 12) Panggung hiburan sepertinya sudah menjadi bagian dari hidup sang Dewi 13) Penampilannya di atas panggung memang kerap kali mengundang decak kagum penggemarnya Her performance on the stage is likely to attract the praise of amazement from her fans. 14) Namun bukan decak kagum yang berselimutkan simpati, melainkan yang mengundang birahi

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However, not amazement in sort of sympathy, but amazement in sort of passion or desire 15) Lantas, akankah sang Dewi bernasib sama seperti Inul? So, will sang Dewi has the same destiny as Inul? 16) Tak ada yang menampik kecantikan Dewi Perssik Nobody denies the beauty of Dewi Perssik 17) Kulit putih, usia muda ditambah keberaniannya bergoyang yahud di atas pentas menjadi jaminan penampilannya tak bakal kekurangan penonton Fair skin, young age, plus her bravery to dance sexy on the stage will be the warranty her show will never be lack of audiences 18) Kekerasan hati Dewi juga lah yang akhirnya membuat Syaiful mengajukan gugatan cerai untuk Dewi The stubbornness of Dewi also makes Syaiful divorce her 19) Annisa Bahar yang dikenal sebagai pemilik goyang patah-patah mengaku miris setiap kali Dewi Perssik tampil layaknya seorang penari striptease 20) Sekali lagi dunia dangdut menjadi sorotan 21) Inul Daratista menjadi saksi ketika karirnya akhirnya tamat ketika Rhoma Irama tiada henti memboikotnya.

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22) Semakin banyak protes terlontar justru semakin beragam goyang erotis mengemuka 23) Dan kini giliran Dewi Perssik yang menjadi sorotan 24) Sejak goyang Inul Daratista mengebor hati penggemarnya, artis dangdut bagai terbelah dua 25) Sementara di sisi lain ada pedangdut yang dituding sebagai pembangkang 26) Ketika Rhoma Cs jarang kelihatan tampil di atas panggung, para penggoyang sexy ini justru banjir order manggung 27) Sedikitpun tak tampak rasa takut di wajah Dewi Perssik 28) Dewi Perssik terbilang berani 29) Meski penolakan terhadap dirinya juga ditunjukkan oleh sebagian masyarakat Tangerang, Dewi Perssik tetap percaya diri banyak masyarakat yang masih mendukungnya. 30) Dewi sama sekali tak ingin minta maaf

c) SV 1) Perseteruannya dengan wali kota Tangerang, Wahidin Halim, kian

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S berkobar V Her conflict against the mayor of Tangerang, Wahidin Halim, is getting hotter

2) Geliat tubuh di atas panggung mengikuti irama dangdut dikecam 3) Tak kalah Gerang, Dewi Perssik pun meradang 4) Namun, sekeras apapun suara-suara yang ingin mengekang, goyang dangdut terus berkembang However, how load the sound to fight is, dangdut shake still grows up and develops 5) Bahkan goyang demi goyang makin menggila Even the shake is getting more lunatic 6) Justru Rhoma Irama dan barisan pendukungnya seperti Cici Faramida dan yang lainnya kian lenyap dari panggung hiburan 7) Akankah kali ini Dewi bakal berubah? 8) Ya, pertikaiannya dengan wali kota Tangerang kian memanas 9) Dewi Perssik tak terima dirinya dituding sebagai artis seronok.

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10) Dewi Perssik kian membara 11) Dangdut tanpa goyangan sering kali diidentikkan bagai sayur tanpa garam 12) Baru tiga bulan dirinya menjanda, kini cobaan datang menghampiri Only three months become a widower, now, obstacle comes to her life 13) Syaiful pun tertegun Syaiful can merely be in silence 14) Dan setelah tiga bulan berlalu, Dewi tetap saja tak berubah And after three months passes, Dewi has not changed 15) Tetap saja Dewi seorang wanita yang gampang meledak tatkala kebebasannya diusik. She is still a woman who explodes when her freedom is disturbed. 16) Luka itu kembali menganga 17) Fenomena lima tahun silam yang dialami Inul Daratista kembali terulang 18) Belakangan, goyang khas dangdut kian beragam 19) Tak heran bila Rhoma dan pengikutnya kian geram dengan kenyataan ini.

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20) Namun dua tahun setelah Rhoma berkoar-koar soal goyang erotis, Dewi Perssik masih tetap lihai di atas pentas 21) Suara serak ala lady rocker semakin lengkap dengan kelihaiannya di atas panggung 22) Trio Macan dan Annisa Bahar juga pernah mendapat sorotan 23) Kata maaf seperti yang pernah terlontar dari Inul dan Uut Pantang terucap dari bibirnya 24) Dia pantang mundur apalagi setelah keluarganya juga memberi dukungan untuknya. 25) Dangdut memang tak pernah sepi 26) Tak ada yang tahu apa yang akan terjadi di kemudian hari No one knows what will happen in the next days 27) Namun di kala badai menerpa sepatutnya sang Dewi pun berkaca. Nevertheless, when the storm comes, sang Dewi should have selfcorrection d) Subject 1) Inul Daratista, Annisa Bahar, Nita Thalia dan Dewi Perssik

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Inul Daratista, Annisa Bahar, Nita Thalia and Dewi Perssik e) Complement 1) Selalu meriah Always solemn 2) Semeriah goyangan para penyanyinya As solemn as the shake of the singer

4.2 Data Analysis In the part of analysis, the researcher is going to analyze further the data presented in data description above in terms of critical discourse analysis by using the approach of Norman Fairclough. As previously mentioned, the data are taken from Insert Investigasi (2 April 2008) and Silet (1 April 2008) in which they are in the same topic (Dewi Perssik). To make the analysis flow smoothly and understandable, the analysis will be presented in the following ways: 1. The researcher will present the analysis of the data taken from Silet on 1 April 2008 2. The researcher will present the analysis of data taken from Insert Investigasi 2 April 2008

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3. The result of the analysis between Insert Investigasi and Silet will be compared in discussion to find out the ideology of each program and to figure out how power influences the ideology of the programs. 4. The researcher is going to present the social analysis concerning the case of the study.

4.2.1

The Textual Analysis on the Gossip of Dewi Perssik in Silet, 1 April 2008

4.2.1.1 Metaphor 1. Semuanya akan dikupas secara tajam, setajam silet. All will be analyzed sharply, as sharp as razor

The way of Silet in discussing cases will be as sharp as razor. There is a comparison of two things which arent the same. But the comparison creates such analogy as if they are the same. 2. Usai pertemuan dengan ustad Yusuf Mansur, Dewi meretas jalan menuju ketenangan dalam meniti karir. After the meeting with ustad Yusuf Mansur, Dewi begins her way of peace to arrange her career

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There is a comparison between the way Dewi get her career and the stairs. They are compared as the same things since it consists of the word meniti (to pass along a narrow thing). The word meniti firmly related to step on the stairs or bridge (narrow things). So, her career and stairs are created as if they are the same.

3. Melalui kepala humas, Syaiful Rahman, pihak wali kota dan warga Tangerang siap membendung Dewi. Through the head of public relation, Syaiful Rahman, the Mayor and citizen of Tangerang are ready to stop Dewi.

There is the word membendung (to dam up) which is usually used for water. However in the sentence above, the word membendung is used with the object Dewi, which is a person. Thus, there is a comparison between water and Dewi Perssik in this context.

4.2.1.2 Diction 1. Dewi Muria Ani alias Dewi Perssik, salah satu maskot dangdut yang terkenal dengan goyangan gergaji, sedang berada di ambang kehancuran karir

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Dewi Muria Ani known as Dewi Perssik, one of dangdut mascots, who is well-known with her saw dance, is in the edge of career destruction

Maskot, according to Kamus Besar Bahasa Indonesia (2002:720), is the symbol of something. Therefore, Dewi Perssik is regarded as the symbol of dangdut music. If she becomes mascot, it could be because of her achievement or her conflicts (her routine occurrence on infotainment programs)

2. Tidak tanggung-tanggung, kabarnya kantor hukum pengacara kondang Otto Cornelius sekaligus sarjana hukum yang ditunjuk berdasarkan aksiaksi warga untuk meladeni langkah hukum Dewi Perssik dan kuasa hukumnya. Totally, there is news that the famous lawyer, Otto Cornelius, is appointed to serve the action of Dewi Perssik and her lawyer

Meladeni (to react) is used in term of fighting or quarelling (physically). It is used in this sentence in order to give firm impression on the action instead of using the word menanggapi (to react)

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3. Benarkah

pemaafan

pihak

wali

kota

itu

beraroma

kampanye

terselubung? Does the apology given imply illegal campaign?

Instead of using the word tertutup (closed) which has close meaning. There is the word terselubung (illegal). Terselubung has more negative impression as if it is illegal (break the law or policy or rule). It serves as the stress of the word kampanye (champaign) so that the champaign is done illegally (terselubung)

4. Pencekalan Dewi Perssik untuk tampil di wilayah kotamadya Tangerang dipicu pernyataan salah satu calon wali kotanya yang mensinyalir adanya unsur seronok dan erotis pada aksi panggung Dewi The boycott toward Dewi Perssik to perform in Tangerang began by the statement of the Mayor which indicates that there are vulgar and erotic parts in her stage performance.

Indeed, based on Kamus Besar Bahasa Indonesia, seronok means good to see. In English, seronok may be translated into pleasantly. But, there is change of language as the time changes. There is narrower meaning of seronok becomes more sensual. While erotis, based on Kamus Besar

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Bahasa Indonesia (2002:307) is related to something that stimulate sexual desire. From the use of these words, it can be concluded that Dewi Perssik is accused as one of the singers that is erotic.

5. Cegah tangkal terhadap gaya busana dan goyangan Dewi Perssik, memicu rasa penasaran terhadap masa lalu dan pola didik Dewi Perssik dari lingkup keluarga The boycott toward the clothes and the dance of Dewi Perssik causes curiosity about the past and the education from the family of Dewi Perssik.

Cegah tangkal is another name for pencekalan, according to Kamus Besar Bahasa Indonesia (2002:200). It means prohibition of someone to do something (in this case, Dewi Perssik is prohibited to perform in Tangerang) 6. Kontroversi rencana pencekalan Dewi Perssik, mengulang kembali pro kontra Inul Daratista lima tahun silam The controversy about the boycott toward Dewi Perssik, repeats the pro contra of Inul Daratista five years ago.

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According to Kamus Besar Bahasa Indonesia (2002:592), kontroversi is conflict. There is conflict between Dewi Perssik and the mayor of Tangerang. To bring more emphasis, thus, the word kontroversi is used.

7. Segenap selebritas, termasuk H. Rano Karno, aktor yang menjadi wakil bupati Tangerang, artis dan aktivis perempuan Rieke Diah Pitaloka, Trio Macan, serta mantan suaminya Saiful Jamil, ikut menanggapi kekisruhan pencekalan Dewi Perssik. All celebrities, including H. Rano Kartno, actor and vice regent of Tangerang, artist and woman activist, Rieke Diah Pitaloka, Trio Macan, also Dewi Perssiks ex-husband, Saiful Jamil, take turn to response the chaos of boycott toward Dewi Perssik.

It is more familiar to use kekacauan than kekisruhan. Though both have the same meaning (chaos) but the word kekisruhan is able to add negative meaning to the chaos happens.

8. Bagaimana laju karir Dewi Perssik di tengah kemelut pencekalan yang menimpa dirinya? How is Dewi Perssiks career among the critical moment of the boycott toward her?

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Kemelut (critical moment) can be meant urgent condition (Kamus Besar Bahasa Indonesia, 2002:539). The condition that is encountered by Dewi Perssik can be described as an urgent one. Even though there is no dangerous thing inside, but to emphasis the event, it is best to use this word.

9. Sejak minggu lalu terjadi perang pernyataan antara Dewi Perssik dan pihak wali kota yang memicu pada argumen atau serangan ke arah pribadi yang terkait dan bukan pada persoalan. Since last week, there was a battle of statement between Dewi Perssik and the Mayor which causes arguments or personal attack to the related person, not to the problem.

The word perang (war or battle) is commonly used to identify a chaos with guns and victims everywhere. But, the modifier of the word perang above is the word pernyataan (statement) in which it will result in no victim and there is no real gun. Since it is perang pernyataan (battle of statement), then the gun is the one that can produce pernyataan (statement), which is mouth. The use of this phrase is to exaggerate the situation happen.

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The situation being depicted is getting war-like with the use of the word serangan (attack) which usually refer to gun and any other weapons. Here, serangan means the statement itself.

10. Merasa dirinya terus menerus mendapat sorotan, awal pekan ini, tepatnya pada hari Senin kemarin, Dewi mendatangi ustad Yusuf Mansur Felt herself as the center of attraction, the beginning of this week, precisely last Monday, Dewi came to ustad Yusuf Mansur

As can be found in Kamus Besar Bahasa Indonesia (2002:1085), the word sorotan has two meaning. The first meaning is related to light or shine and the second meaning is response of statement. Regarding the sentence above, what is meant by sorotan is closely linked to the second meaning. What is meant by sorotan (center of attention) in this sentence is the response of statements of Dewi Perssik.

11. Wacana pencekalan Dewi Perssik semakin memanas setelah tim kuasa Dewi Perssik berencana akan melakukan somasi terhadap wali kota Tangerang, H Wahidin Halim

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The planning of boycott toward Dewi Perssik was getting hotter after the lawyer of Dewi Perssik planned to send letter of somation to the mayor of Tangerang, H Wahidin Halim.

Wacana is something debatable. So, pencekalan Dewi Perssik is still debatable. The planning of boycott toward Dewi Perssik is getting hotter after the lawyer of Dewi Perssik plans to send letter of somation to the mayor of Tangerang, H. Wahidin Halim. While, somasi is a reminder. Instead of using teguran (warning), it will have greater meaning if it used somasi which sounds sophisticated since it is law term.

12. Di tengah tingginya tensi kekisruhan, selepas pertemuan Dewi dan ustad Yusuf Mansur tadi malam, secara mengagetkan pihak wali kota melalui humasnya, wali kota Tangerang, H Saiful Rahman menyatakan memaafkan bahkan mendoakan Dewi Perssik. In the high tension of the conflict, after the meeting between Dewi and ustad Yusuf Mansur last night, surprisingly, the Mayor, through his public relation staff, the Mayor of Tangerang, H Saiful Rahman, states that he has already forgiven Dewi Perssik and even prayed for her.

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Tensi derives from English word tension means tekanan. By using the word tensi, it can present scientific insight and sophisticated impression instead of using the word tekanan. It will sound more global.

13. Ketegangan wali kota dan Dewi Perssik berawal dari pernyataan sang wali kota di sebuah media yang menyoal busana dan goyangan erotis Dewi Perssik yang dituding menabrak keluar dari akhlakul karimah yang menjadi pusat kemaslahatan kotamadya Tangerang. The tension between the Mayor and Dewi Perssik begins with the statement of the Mayor in a media, which raise a matter on Dewi Perssiks clothes and erotic shake, that is accused to break akhlakul karimah (good behavior), the center of advantage in Tangerang

Akhlakul karimah means akhlak yang mulia (good behavior). The writer chooses to use akhlakul karimah to give the sense of religious. In addition, there is the word kemaslahatan (advantage or use) which means something that is useful, in the sentence, also to give the sense of religious, instead of using the word manfaat.

14. Kepada tim silet wali kota Tangerang mengaku hingga saat ini belum melakukan pencekalan terhadap Dewi Perssik, tetapi hanya menghimbau

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agar para pedangdut yang akan tampil di Tangerang memperhatikan gaya busana dan aksi panggungnya agar tidak kebablasan. To Silet team, the Mayor admits, until now, he has not carried out the boycott yet, but just gives the suggestion to dangdut singers who will perform in Tangerang to pay attention to their clothes and performance on stage, not to be out of rules.

Kebablasan (excess) derives from the word bablas that can be meant, based on Kamus Besar Bahasa Indonesia (2002:83), out of rules. By using the word kebablasan instead of kelewatan or keterlaluan (excess), it can impress the hearer in more stressful sense.

15. Kasus rencana pencekalan terhadap Dewi Perssik kuat diduga terlanjur dipolitisir oleh pihak-pihak tertentu. The case of the planning of boycott toward Dewi Perssik is already politized by certain groups of people.

Dipolitisir (being politized) derives from the word politisir, which means, according to Kamus Besar Bahasa Indonesia (2002: 887), related to political matters. Hence, dipolitisir (di- + politisir) is the act deals with political matter. There is an assumption that what has happened to Dewi

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Perssik is politically arranged by certain group or people to get something they want (political needs).

4.2.1.3 Cohesive Device 1) Conjunction In this part, there will be the analysis of conjunctions found in the gossip of Dewi Perssik in Silet infotainment program. Below is the table of the analysis: Table 8 conjunctions in Silet (the analysis)
Conjunction Namun However Bak Like Sekarang Now Selain Besides Tetapi But Juga Also Kontrasnya On the contrary Bahkan Even Sebelumnya Before Nampaknya Seemingly Line 3 7, 68 8 34 61, 89 61 73 80 87 93 Type Adversative Comparison Temporal Additive Adversative Additive Adversative Affirmation Temporal Adversative Function To show contrast To compare to another thing To relate with certain event (time) To add information To show contrast To add information To show contrast To emphasize To relate with certain event (time) To show contrast

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Based on the table above, it is obvious that there are 12 conjunctions occuring in the text. For the details, for some conjunctions, they merely occur once, such as namun (however), sekarang (now), selain (besiedes), juga (also), kontrasnya (on contrary), bahkan (even), sebelumnya (before), nampaknya (seemingly). Meanwhile, there are two kinds of conjunctions that appear twice, they are, bak (like) and tetapi (but). The most frequently occurred conjunctions are bak and tetapi. The word bak (like) is the type of comparison conjunction (according to Rani et al). Comparison conjunction serves as the tool to figure out the relation of similarity or difference between one thing and another. The word tetapi (but) is included in the type of adversative conjunction in which this type of conjunction functions to show contrast condition. So the word tetapi indicates the contrast between hope and the truth. The complete sentences are

Bak berbalas pantun, gelagat pencekalan atas Dewi kian meningkat setelah dikabarkan somasi dari kuasa hukun Dewi terhadap pihak wali kota Tangerang, sekarang giliran warga kotamadya Tangerang yang balik berencana melawan Dewi Perssik. (Like reciting poems, the indication of the boycott toward Dewi increases after being reported that there is letter of somation from Dewi Perssiks

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lawyer to the mayor of Tangerang, now it is the turn for the citizen of Tangerang to fight back against Dewi Perssik)

So, the action of citizen of Tangerang is like (bak = like) berbalas pantun(reciting poems). So there is a similary between berbalas pantun (reciting poems) and the action of Tangerang citizen.

Kepada tim silet, wali kota Tangerang mengaku hingga saat ini belum melakukan pencekalan terhadap Dewi Perssik, tetapi hanya menghimbau agar para pedangdut yang akan tampil di Tangerang memperhatikan gaya busana dan aksi panggungnya agar tidak kebablasan (To Silet team, the Mayor admits, until now, he has not carried out the boycott yet, but just gives the suggestion to dangdut singers who will perform in Tangerang to pay attention in wearing clothes and performing on stage, not to be out of rules)

The word tetapi (but) uses to show contrast condition between the truth and hope. Here, the hope is melakukan pencekalan terhadap Dewi Perssik (boycott Dewi Perssik) while the truth is hanya menghimbau agar para pedangdut yang akan tampil di Tangerang memperhatikan gaya busana dan aksi panggungnya (just gives the suggestion to dangdut

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singers who will perform in Tangerang to pay attention in wearing clothes and performing on stage)

2) Repetition Di panggung dangdut, apapun irama dan isi lagu rasanya

kurang afdol tanpa goyangan. Irama lagu terasa kian mistis dan menggelora dengan badan yang meliuk-liuk atau tangan berputarputar On dangdut stage, whatever the rhytm and the content of the song are, it seems inadequate without shaking. The rhytm is felt more mystical and hotter with the moving body and circling hands.

Refered back to the sentences above, it is able to see that there is repetition between the first and the second sentence. The word irama (rhytm) in the second sentence is still in the same form as in the first one. There is no morphological change. Also, there is no change in position. In the first sentence, irama (rhytm) places its position as a subject and in the second sentence irama (rhytm) is also in subject position. The repetition above is fully emphasis on the word

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irama. What is meant by irama in this sentence is absolutely irama dangdut. Regarding the whole sentences, it can be strongly predicted that the writer wants to tell that dangdut and its rhyme must be accompanied by dance. The use of the repetition is to strengthen the writers argument. Tekanan, desakan dan hujatan pencekalan terhadap Dewi Perssik, melintas pada karir dan kehidupan pribadinya. Pencekalan pihak wali kota Tangerang atas busana dan goyangan Dewi Perssik yang dinilai seronok dan erotis menimbulkan efek tak terduga pada aktivitas karir Dewi Perssik Pressure, force, and moke of boycott toward Dewi Perssik accrosess her career and personal life. The boycott from the mayor of Tangerang to the clothes and the shake of Dewi Perssik which are assumed as vulgar and erotic, has caused unpredictable effect to the career activities of Dewi Perssik.

In the sentences above, the word pencekalan (boycott) is being repeated. There is a bit difference between the word pencekalan (boycott) in the first and the second sentence. In the first sentence, the word pencekalan (boycott) is in the position of subject, precisely it is a modifier of the word hujatan (phrase). While in the

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second sentence, pencekalan (boycott) stands as the single subject with no modifier. It is to stress on the event which is about pencekalan (boycott) itself. So that the reader or the hearer can see what is truly being talked about

3) Reference This part will analyze the references found in the gossip of Dewi Perssik in Silet. Below is the table of analysis: Table 9 references in Silet (the analysis)
Line Reference Refers to 4 Itu in Kisruh pencekalan Pencekalan Dewi Perssik itu the in the mess of the boycott 6 sang ustad Ustad Yusuf Mansur 10 13 20 20 22 26 29 35 37 aksi-aksi warga Actions of citizen itu in pihak wali kota itu the in the mayor -nya in keluarganya her in her family itu that -nya in ayah bundanya her in her parents -nya in mantan suaminya her in her ex-husband Anda You itu that -nya in dirinya Warga Tangerang Wali kota Tangerang Dewi Perssik Dewi Perssik Dewi Perssik Dewi Perssik The viewer Dewi Perssik Dewi Perssik Type Endophora, demonstrative Endophora, personal Exophora Endophora, personal Endophora, personal Endophora, personal Endophora, personal Endophora, personal Exophora Endophora, personal Endophora, anaphora, cataphora, anaphora,

anaphora,

anaphora, anaphora, anaphora, anaphora, cataphora,

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39 40 43 50 53

her in herself sang ustad -nya in dirinya her in herself -nya in goyang gergajinya her in her saw shake -nya in dirinya her in herself itu in janda muda berusia 22 tahun itu

Ustad Yusuf Mansur Dewi Perssik Dewi Perssik Dewi Perssik Dewi Perssik

personal Endophora, personal Endophora, personal Endophora, personal Endophora, personal Endophora, personal

anaphora, anaphora, anaphora, anaphora, cataphora,

Continued
No 54 55 55 57 58 62 77 82 84 87 87 81 92 99 105 Reference -nya in karirnya her in her career ini in beberapa waktu belakangan ini this in this recent time -nya in idolanya her in her idol itu -nya in popularitasnya her in her popularity itu itu in nasihat itu the in the advice -nya in dirinya -nya in humasnya his public relation staff" sang in sang wali kota -nya in dirinya her in herself sang in sang wali kota -nya in panggungnya her in her stage -nya in dirinya her in herself -nya in panggungnya Refers to Dewi Perssik Deictic Ustad Yusuf Mansur Type Endophora, personal Exophora anaphora,

Endophora, personal Dewi Perssik Endophora, personal Ustad Yusuf Mansur Endophora, personal Tausiyah yang diberikan Endophora, ustad personal Wali kota Tangerang Endophora, personal Wali kota Tangerang Endophora, personal Wali kota Tangerang Endophora, personal Dewi Perssik Endophora, personal Wali kota Tangerang Endophora, personal Para pedangdut Endophora, personal Dewi Perssik Endophora, personal Dewi Perssik Endophora, personal Dewi Perssik Endophora,

anaphora, anaphora, anaphora, anaphora, anaphora, cataphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora,

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108 111

her in her stage -nya in dirinya her in herslf -nya in panggungnya her in her stage

Dewi Perssik Dewi Perssik

personal Endophora, personal Endophora, personal

anaphora, anaphora,

The table above shows the details of the references present in the text. Based on the table, there are 33 references in the text. The most frequently occur is reference -nya that is embedded in words. Reference -nya can be categorized into anaphora or cataphora depends on the context. But, in the text, there are a great number of endophora, anaphora, personal references. It indicates that to find the referential meaning, it is necessary to look at the preceding text. The parts of the text encourage each other to make a holistic depiction o the case being discussed. For the example of the use of -nya, as in Merasa dirinya terus menerus mendapat sorotan, awal pekan ini, tepatnya pada hari Senin kemarin, Dewi mendatangi ustad Yusuf Mansur (Felt herself being the center of attention, the beginning of this week, precisely on last Monday, Dewi comes to ustad Yusuf Mansur) Moreover, -nya in the sentence above can be related to its referential meaning by concerning the following text, awal pekan ini, tepatnya pada hari Senin kemarin, Dewi mendatangi ustad Yusuf Mansur. After that, it is obvious that -nya refers to Dewi (Dewi Perssik). Besides, there is the word sang ustad. Those words use sang in front of the name (Dewi and Walikota). The use of sang is to give praise or even to tease

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certain person being talked. Thus, these words can create negative impression or to raise the value of a person (positive impression). If it is used to praise, the whole sentence will support the condition, as in Kontrasnya, di tengah gemuruh aksi-aksi warga yang ingin membendung Dewi, sang wali kota H Wahidin Halim justru memaafkan bahkan mendoakan Dewi Perssik. (On the contrary, among the actions of citizen to stop Dewi, the mayor, H Wahidin Halim accidentally forgives, even prays for Dewi Perssik) From the sentence, the use of sang is to raise the value of a person (walikota) before showing his virtuous action (memaafkan - forgives, mendoakan - prays) Regardless its minority, exophora references also appear. As in Saya Dona Arsinta, akan berada di hadapan Anda selama satu jam ke depan untuk menyimak kisah dan kasus para selebritis serta mengangkat hal-hal yang tabu menjadi patut dan layak diperbincangkan (I am Dona Arsinta, will come to You for one hour, to attend the stories and cases of celebrities, also talk about taboo things into proper and and decent to be discussed) The word Anda (You) is necessarily to link with the situation (situational). It refers to the viewer who watches the program. Another instance, as in Kehadiran janda muda berusia 22 tahun itu meretas kisah dan menguatkan dugaan bahwa Dewi sedang meminta tausiyah atas persoalan yang sedang mengganjal karirnya pada beberapa waktu belakangan ini

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(The coming of that 22nd years old widow clear story and strengthen the assumption that Dewi is asking for advice for her problems which shift her career in this recent time) The sentence above contains the word ini (this) which is relatively connected to deictic. It can be referred to its referential meaning by looking out side the text (in this case, the time when the news is produced).

4.2.1.4 Structure of Sentence (Grammar) Seeing the whole text, it can be figured out 70 sentences. There are 34 sentences in the form of SVO, 23 sentences in the form of SVC, 14 sentences in the form of SV and only 1 sentence in the form of SVVO (minor pattern). Concerning the result, it can be seen that the most used pattern is SVO which portrays action. For further explanation, below is the elaboration of some of the sentences in each pattern: a) SVO 1) Kisruh pencekalan itu menggerogoti kesenangan Dewi Perssik sehingga senin kemarin Dewi secara khusus mendatangi ustad Yusuf Mansur. (The boycott has lost Dewi Perssiks pleasure so that last Monday, Dewi, specially, visits ustad Yusuf Mansur) The participant : kisruh pencekalan itu

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The action : mengerogoti The object : kesenangan Dewi Perssik

2) Merasa dirinya terus menerus menjadi sorotan hari senin kemarin, Dewi Perssik mengadakan pertemuan dengan ustadz Yusuf Mansur sebagai salah satu cara untuk melakukan intorspeksi diri. (Being the center of attention, last Monday, Dewi Perssik held a meeting with ustad Yusuf Mansur as one of the ways to have self-correction) The participant : Dewi Perssik The action: mengadakan The object : pertemuan 3) Melalui kepala humas, Syaiful Rahman, pihak wali kota dan warga Tangerang siap membendung Dewi. (Through the head of public relation, Syaiful Rahman, the Mayor and citizen of Tangerang are ready to stop Dewi)

The participant : pihak wali kota dan warga Tangerang The action : siap membendung The object : Dewi

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4) Kontrasnya, di tengah gemuruh aksi-aksi warga yang ingin membendung Dewi, sang wali kota H Wahidin Halim justru memaafkan bahkan mendoakan Dewi Perssik On the contrary, among the actions of the citizens to fight against Dewi, the Mayor, H Wahidin Halim, gives apology, even prays for Dewi Perssik

The participant : sang wali kota The action : memaafkan, mendoakan The object : Dewi Perssik

5) Memanasnya kontroversi seputar rencana pencekalan Dewi Perssik yang bergulir sejak pertengahan minggu lalu sempat memunculkan perang pernyataan yang keras antara Dewi Perssik dan pihak wali kota Tangerang, H Wahidin Halim (The hot situation of the controversy about the planning of boycott toward Dewi Perssik that has appeared since the middle of last week, arises the battle of statements between Dewi Perssik and the mayor of Tangerang, H Wahidin Halim)

The participant : memanasnya kontroversi seputar rencana pencekalan Dewi Perssik yang bergulir sejak pertengahan minggu lalu

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The action : memunculkan The object : perang pernyataan yang keras antara Dewi Perssik dan pihak wali kota Tangerang, H Wahidin Halim

6) Bahkan pihak kuasa hukum Dewi kini melayangkan somasi kepada pihak wali kota (Even, the lawyer of Dewi Perssik now sends a letter of somation to the Mayor) The participant : pihak kuasa hukum Dewi The action : melayangkan The object : somasi

7) Pencekalan pihak wali kota Tangerang atas busana dan goyangan Dewi Perssik yang dinilai seronok dan erotis menimbulkan efek tak terduga pada aktivitas karir Dewi Perssik (The boycott from the mayor of Tangerang of the clothes and the shake of Dewi Perssik which are assumed as seronok and erotic, has caused unpredictable effect to career activities of Dewi Perssik) The participant : pencekalan pihak wali kota Tangerang atas busana dan goyangan Dewi Perssik yang dinilai seronok dan erotis The action : menimbulkan

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The object : efek tak terduga pada aktivitas karir Dewi Perssik

b) SVC 1) Di panggung dangdut, apapun irama dan isi lagu rasanya kurang afdol tanpa goyangan (On Dandut stage, whatever the rhytm and the content of the song are, it seems inadequate without shaking)

Participant : apapun irama dan lagu Verb : rasanya Non-possessive attribute : kurang afdol

2) Maklum Dewi termasuk salah satu jamaah pengajian ustad yang juga idolanya itu (Dewi is also the follower of the ustad, who is her idol)

Participant : Dewi Verb : termasuk Non-possesive attribute : salah satu jamaah pengajian ustad

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3) Ustad Yusuf Mansur mendorong dalam diri Dewi Perssik.

ketenangan yang lebih personal

(Ustad Yusuf Mansur gives peace to the personal part of Dewi Perssik)

Participant : ustad Yusuf Mansur Verb : mendorong Non-possessive attribute : ketenangan yang lebih personal

4) Orasi

yang

dilakukan

di hadapan

warga

Tangerang

yang

menyinggung gaya busana dan goyangan sejumlah penyanyi diduga sebagai sarana kampanye terselubung. (The oration done in front of the citizen of Tangerang about the clothes and the shakes of some dangdut singers is predicted as illegal campaign)

Participant : orasi yang dilakukan di hadapan warga Tangerang Verb : yang menyinggung Non-possessive attribute : gaya busana dan goyangan sejumlah penyanyi

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5) Dewi Perssik melangkah pasti mengatasi kontroversi (Dewi Perssik steps surely facing the controversy)

Participant : Dewi Perssik Verb : melangkah Non-possessive attribute : pasti

c) SV 1) Panggung dangdut kembali bergoyang (Dangdut stage shakes again)

Participant : panggung dangdut Event : bergoyang

2) Kasus rencana pencekalan Dewi Perssik oleh pihak Wali Kota Tangerang semakin alot (The case of the planning of boycott toward Dewi Perssik conducted by the mayor of Tangerang was getting hard)

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Participant : kasus rencana pencekalan Dewi Perssik oleh pihak wali kota Tangerang Event : semakin alot

3) Berbicara persoalan selebritas dengan ahli agama yang akrab dengan kalangan selebritas itu begitu mencengangkan. (Talking about celebrities problems with the canonist who close enough with the celebrities, really asthonished)

Participant : berbicara persoalan selebritas dengan ahli agama yang alran dengan kalangan selebritas itu Event : begitu mencengangkan

4) Wacana pencekalan Dewi Perssik semakin memanas setelah tim kuasa Dewi Perssik berencana akan melakukan somasi terhadap wali kota Tangerang, H Wahidin Halim (The discourse of boycott toward Dewi Perssik is getting hotter after the lawyer of Dewi Perssik has a plan to send letter of somation to the mayor of Tangerang, H Wahidin Halim)

Participant : wacana pencekalan Dewi Perssik

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Event : memanas

5) Senin kemarin, Dewi baru saja tampil di Bandung Jawa Barat (Last Monday, Dewi performs in Bandung, West Java) Participant : Dewi Event : tampil

4.2.2 The Textual Analysis on the gossip of Dewi Perssik in Insert Investigasi, 2 April 2008 The approach on Critical Discourse Analysis by Norman Fairclough includes three levels of analysis, as previously mentioned in chapter two. There are textual level, discursive practice and socio-cultural practice 4.2.2.1 Metaphor

1. Dewi Perssik masih berselimutkan amarah Anger covers Dewi Perssik

Berselimutkan amarah (anger covers) shows a very big anger because if it is berselimutkan (covers), it means the whole body covers anger. This

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metaphor wants to emphasis the anger of Dewi Perssik, in this case, the anger of Dewi Perssik to the mayor of Tangerang.

2. Namun bukan decak kagum yang berselimutkan simpati, melainkan yang mengundang birahi However, not amazement covered by symphaty, but amazement in sort of passion or desire

Again, there is a word berselimutkan (covered) including as a metaphor. In this sentence, there is berselimutkan simpati (covered by symphaty). Opposite to the previous metaphor, this metaphor (berselimutkan simpati) exhibits a very big symphaty from others. But, related to the whole context of the sentence, it is not straight in meaning since there is a conjunction namunmelainkan (however..but.) which is able to make something in contrast. So that, instead of getting sympathy, her performance is going to make someone in passion.

4.2.2.1

Diction

1. Geliat tubuh di atas panggung mengikuti irama dangdut dikecam The body follows the rhythm of dangdut is threathened

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Geliat, according to Kamus Besar Bahasa Indonesia (2002:347), is a noun while the verb is the word menggeliat which means the activity of moving parts of our body when one gets up from bed. In this sentence, it is used in the context of stage. Thus, it can be concluded that the use of geliat substitutes the word goyang to lead into certain meaning (stress) 2. Tak kalah gerang, Dewi Perssik pun meradang Dewi Perssik also gets furious

Meradang exhibits a worse condition of an illness. However, in the sentence, meradang accompanies emotional state (gerang). Then, it will stress that the anger is getting worse (furious) 3. Perseteruannya dengan wali kota Tangerang, Wahidin Halim, kian berkobar Her conflict against the mayor of Tangerang, Wahidin Halim, is getting hotter

Perseteruan (conflict), according to Kamus Besar Bahasa Indonesia (2002:1056) means permusuhan (enmity). Hence, this word used to substitute the use of permusuhan (but more negative) to gain more negative effect.

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4. Sementara sang wali kota bagai mendapat bantuan armada ketika beberapa kelompok masyarakat Tangerang menyatakan dukungannya Meanwhile, the mayor gains help of navy when a number of groups of Tangerang citizen give the support

Armada (navy) is the term used by armies. It means like a group of soldiers of navy. Here, in the sentence, the word armada followed by the clause ketika beberapa kelompok masyarakat tangerang. In short, the word armada (navy) firmly connected with masyarakat Tangerang. Strongly predicted, the use of armada (navy) is for giving the athmosphere of battle field of the pertikaian (conflict) between Dewi Perssik and the mayor of Tangerang. 5. Pertikaian ini pun mengoyak luka lama yang dulu sempat menyayat tubuh musik dangdut This conflict tears old wound that has scared dangdut

Pertikaian (conflict), according to Kamus Besar Bahasa Indonesia (2002:1190), means perselisihan (conflict). Perselisihan can happen when there are different opinions. In this case, there are different opinions between Dewi Perssik and the mayor of Tangerang. Dewi Perssik thinks she is not artis seronok. However, mayor thinks that the stage

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performance of Dewi Perssik is already out of control. These different opinions create conflict (pertikaian). 6. Bahkan goyang demi goyang makin menggila Even the shake is getting more lunatic

The word menggila(getting more lunatic) derives from gila (lunatic) which means abnormal mental state. So, this sentence implies the meaning that the shake (goyang) is going to be more than ordinary shake. 7. Belum hilang ingatan bagaimana dada Dewi Perssik dicolek seorang pria, kini pedangdut sexy tersebut lagi-lagi diterpa badai Still fresh in mind how a man touched Dewi Perssiks breast, now, that sexy dangdut singer faces another storm

According to Kamus Besar Bahasa Indonesia, dicolek (being touched) derives from the word colek. Colek means touch using fingertip. So when Dewi Perssik dicolek, it should be that she is touched by someone by using his fingertip. Besides, dicolek gives negative impression that the doer has negative aim so it has more negative meaning than ordinary touch. 8. Pernyataan pedas Dewi yang menantang Wahidin Halim justru mendatangkan kecaman dari sebagian masyarakat Tangerang

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The sharp statement to fight against Wahidin Halim causes threathen from most people of Tangerang

As widely known, pedas (sharp) is used for things, to explain the condition of things, such as, weather or food. Here, the word pedas (sharp) used to modify the noun pernyataan (statement). How can pernyataan be pedas (sharp)? Then, the word pedas (sharp) used to explain and to give another sense that the statement is hurting. The hearer of the statement can be mad or angry. 9. Dewi Perssik tak terima dirinya dituding sebagai artis seronok Dewi can not accept if people call her a vulgar art Indeed, based on Kamus Besar Bahasa Indonesia, seronok means good to see. Time has changed. It also affects language to change. There is change in meaning of the word seronok. Nowadays, when one says seronok, it can be meant negative thing. Not really far different from the word sexy, the word seronok (vulgar) also impresses as sensual sight or appearance but again it has more negative effect to the hearer. 10. Faktanya, dangdut dengan goyang yahud plus pakaian minim penyanyinya mendapat animo besar dari penggemarnya In fact, dangdut with sexy shake plus the sexy clothes of the singer will get huge attention from its fans

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Yahud is the same as greater, based on Kamus Besar Bahasa Indonesia (2002:1277), but in the sense of exaggeration. 11. Namun bukan decak kagum yang berselimutkan simpati, melainkan yang mengundang birahi However, not amazement in sort of sympathy, but amazement in sort of passion or desire

Birahi is animal passion while this news is not an animal news. Thus, it gives negative adding to the sentence and also to the whole text. 12. Tetap saja Dewi seorang wanita yang gampang meledak tatkala kebebasannya diusik. She is still a woman who explodes when her freedom is disturbed.

There is an exaggeration word meledak (explodes) which is related to bomb. Here, Dewi is a human being, not a bomb. Then, there is an exaggerating condition of Dewi Perssik that he can explode when her freedom is being disturbed. 13. Annisa Bahar yang dikenal sebagai pemilik goyang patah-patah mengaku miris setiap kali Dewi Perssik tampil layaknya seorang penari striptease

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Annisa Bahar who is well-known with patah-patah shake admits that she is quite sad everytime she sees Dewi Perssik perfoms like striptease dancer.

Striptease dancer is a sexy dancer who shows the beauty shape of her body by sexy dancing and wearing very sexy clothes. It is a simile where Dewi Perssik is being compared directly to striptease dancer using the word layaknya (like). This sentence is able to strengthen the negative impression of Dewi Perssik that previously made in the text. 14. Mampukah sang Dewi menghadapi kecaman yang datang bertubi-tubi menghantam? Can Dewi Perssik encounter the treathens come?

Sang Dewi here refers to Dewi Perssik. It is taken from her first name Dewi. Then, the word sang is used before Dewi to tease or vice versa, to praise. It depends on the whole context. 15. Di satu sisi ada Rhoma Irama, si raja dangdut yang mengusung aliran dangdut bermartabat. On one side, there is Rhoma Irama with prestigious dangdut

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Martabat is pride (respectable position). Then dangdut bermartabat (prestigious) can be meant as dangdut that is respectable because it is a polite music, no sensual appearance and only the quality of the music is being sold. 16. Sementara di sisi lain ada pedangdut yang dituding sebagai pembangkang While on the other side, there are dangdut singers who are accused as the rebellers.

For political term, pembangkang (rebeller) is person who breaks the rules. Here, pembangkang is in the field of dangdut. Hence, pembangkang in this sentence is person who breaks the rules of dangdut. But, the question is what is the rule? Who creates the rule? 17. Namun dua tahun setelah Rhoma berkoar-koar soal goyang erotis, Dewi Perssik masih tetap lihai di atas pentas However, after two years Rhoma Irama shouts about erotic shake, Dewi Perssik still performs her sexy shake

People speak or talk to other, but when someone berkoar-koar (shouts), it is more than just ordinary speaking or talking. Berkoar-koar is an action

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of talking but with louder voice to evoke others to do or think the same way about something 18. Dihujani cacian dan hujatan justru semakin memperkuat benteng pertahanan Dewi Perssik Getting moke and slander, it accidentally strengthens Dewi Perssiks wall of defense.

Again, benteng pertahanan (wall of defense) is the term used in battle field. The writer of this narration wants to show the worse condition of the pertikaian (conflict) as though it is in battle field.

19. Lebih parah lagi, Dewi Perssik bahkan menuding Wahidin Halim hanya memperalatnya demi mendongkrak popularitasnya sebagai persiapan masa pemilihan ketua daerah yang akan diadakan dalam waktu dekat ini Even worse, Dewi Perssik accuses Wahidin Halim use her to increase popularity as the preparation of regional election in the next period that will be held soon

Regarding the meaning of memperalat in Kamus Besar Bahasa Indonesia, it has the meaning that using someone as tool to reach certain

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purpose. This word is chosen to make a ceratin sense in which the sense of cunning. 20. Meski tidak selalu setuju dengan aksi panggung Dewi Perssik, namun Annisa justru menentang keras aksi pejabat yang coba melakukan pencekalan terhadap para penyanyi dangdut. Though she does not always agree with Dewi Perssiks stage performance, but Annisa fights against the action of the ruling class who attempt to boycott dangdut singers.

In Kamus Besar Bahasa Indonesia, the word pencekalan (boycott) means the action of mencekal in which someone is prohibited to do something.

4.2.2.2 Cohesive device a) Conjuction In this part, there will be an analysis on the conjunctions found in the gossip of Dewi Perssik in Insert Investigasi. Table 10 conjunctions in Insert Investigasi (the analysis)

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Conjunction Sementara While Ketika When Bahkan Even Namun However Jika If Juga Also Toh Justru Ya Kini Now Faktanya In fact Sepertinya Like Memang Well Melainkan Although Dan And Lantas Then Sekali lagi Once more Sejak Since

Line 6, 25, 57 7, 51, 60 8, 12, 70

Type Adversative Temporal Affirmation

Function To show contrast condition To relate with certain event (time) To emphasize To show contrast To show contrast To add information To admit something caused by previous statement To give emphasis To admit something caused by previous statement To relate with time To show disharmony between the truth and hope To compare to another thing Introduces explanatory comment To show contrast To add information To relate with certain event (time) To give emphasis To relate with certain event (time)

12, 36, 63, Adversative 67, 80, 89 13 Adversative 13, 44 15 Additive Consesion

16, 23, 52, Affirmation 61, 71 17, 22 Consesion 21, 43 28 30 36, 66, 87 37 37, 45, 88 38 50 55 Temporal Disharmony Comparison Consesion Adversative Additive Temporal Affirmation Temporal

Continued

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Conjunction Di satu sisi On one side Di sisi lain On other side Belakangan Lately Meski Though Lebih parah lagi Even worse Sebenarnya Indeed Hanya saja But Apalagi Moreover

Line 55 57 59 74 76 82 83 84

Type Adversative Adversative Temporal Adversative Disharmony Disharmony Adversative Affirmation

Function To show contrast To show contrast To relate with certain event (time) To show contrast To show disharmony between hope and truth To show disharmony between the truth and hope To show contrast To give emphasis

According to the table above, there are 51 conjunctions in the text. For most conjunctions, they only appear once in the text. Meanwhile, there are also some conjunctions that occur more than once. For instances, juga, ya, kini, appear twice, sementara, ketika, bahkan, memang, and dan appear three times. While justru occurs five times and the most is namun that appears six times. The use of justru as affirmative conjunction is to give emphasis on the sentence, as in Justru Rhoma Irama dan barisan pendukungnya seperti Cici Faramida dan yang lainnya kian lenyap dari panggung hiburan The sentence above implies an emphasis by using the word justru in the beginning of the sentence. It is to stress the event that Rhoma Irama

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dan barisan pendukungnya seperti Cici Faramida dan yang lainnya kian lenyap dari panggung hiburan. Besides, there is the use of adversative conjunction (namun) in which it is the most frequently occured magazine. If there are many adversative conjunctions, besides namun there are also melainkan, meski, sementara and others that are adversative ones, it can be predicted that there are many contrast circumstances in the text. Between hope and reality is not the same so that the writer uses adversative conjunction. Or maybe the writer explicitly wants to show the contrast condition. For example,

Perseteruannya dengan wali kota Tangerang, Wahidin Halim, kian berkobar. Setitik pun Dewi Perssik tak ingin undur langkah. Sementara sang wali kota bagai mendapat bantuan armada ketika beberapa kelompok masyarakat Tangerang menyatakan dukungannya

There is contrast between two conditions (the condition of Dewi Perssik and the condition of the mayor). The condition of Dewi Perssik is still in anger and she does not want to give up and the condition of walikota is in powerful position since he gets support from his citizen. Another example, Rhoma irama berdiri di garda depan penentang para pedangdut yang mengandalkan goyang sexy plus dengan pakaian ketat dan minim yang

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mempertontonkan mulusnya kulit pedangdut. Inul Daratista pernah bersimbah air mata. Namun, sekeras apapun suara-suara yang ingin mengekang, goyang dangdut terus berkembang

There is contrast condition of two events. The first event is the tragedy of Inul Daratista and the action done by Rhoma Irama to prohibit sexy dangdut singer. While the second event is though there are so many contras toward sexy dangdut singer, but the fact is, there are still so many sexy dangdut singers with their own sexy dances.

b) Repetition 1. Goyang Namun, sekeras apapun suara-suara yang ingin mengekang, goyang dangdut terus berkembang. Bahkan goyang demi goyang makin menggila. Jika Dewi Perssik muncul dengan goyang gergajinya, ada juga Annisa Bahar dengan goyang patah-patahnya However, how loud the sound to fight is, dangdut shake still grows up and develops. Even the shake is getting more lunatic. If Dewi Perssik has saw shake, there is Annisa bahar with patah-patah shake.

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The repetition of the word goyang exhibits that the key word of the gossip is goyang. The word goyang does not undergo change in form from the first into the following sentences. In the first and second sentence, goyang positions as subject of sentence. While in the third sentence, goyang places the position of complement. The writer of the narration is likely to stress the topic being talked, which is about goyang 2. Syaiful Syaiful pun tertegun. Syaiful hafal betul watak Dewi Perssik. Kekerasan hati Dewi juga lah yang akhirnya membuat Syaiful mengajukan gugatan cerai untuk Dewi. Syaiful can merely be in silence. Syaiful knows exactly Dewis character. The stubbornness of Dewi also makes Syaiful to divorce her

The word Syaiful, Dewi Perssik ex-husband, is being repeated from the previous sentence to the subsequent sentence. The writer doesnt write he instead of the name but he still uses the name, Syaiful. It can be an affirmation on the word syaiful itself. 3. Tetap saja

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Dan setelah tiga bulan berlalu, Dewi tetap saja tak berubah. Tetap saja Dewi seorang wanita yang gampang meledak tatkala kebebasannya diusik. And after three months passes, Dewi has not changed. She is still a woman who explodes when her freedom is disturbed. Although there is a change in the position, but the composition of the word remains the same. The word tetap saja in the first sentence appears after subject and in the following sentence it appears in the beginning of the sentence. However, it still shows the emphasis from the previous to the next sentence about Dewi Perssiks behavior. c) References This part will elaborate the analysis of references found in the gossip of Dewi Perssik in Insert Investigasi.

Table 11 references in Insert Investigasi (the analysis)

Line Reference 5 -nya in perseturuannya the in the conflict 6 sang in sang wali kota 8 -nya in dukungannya Refers to Dewi Perssik Wali kota Tangerang masyarakat Tangerang Type Endophora, comparative Endophora, personal Endophora, anaphora, cataphora, anaphora,

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8 8

their in their support disana there ini in pertikaian ini this in this conflict

9 10

13 14 15

16 16 18 18 19 20

personal Endophora, demonstrative Perseteruannya dengan Endophora, wali kota Tangerang demonstrative the conflict with the mayor of Tangerang yang dulu World-knowledge Exophora para pedangdut in para World-knowledge Exophora pedangdut yang mengandalkan goyang sexy plus dengan pakaian ketat dan minim -nya in goyang gergajinya Dewi Perssik Endophora, her in her saw shake personal -nya in goyang patah- Annisa Bahar Endophora, patahnya personal her in her patah-patah shake mereka para pedangdut yang Endophora, they mengandalkan goyang sexy personal plus dengan pakaian ketat dan mini -nya in pendukungnya barisan pendukungCici Endophora, his in his followers Faramida dan yang lainnya personal yang lainnya Barisan pendukung Rhoma Exophora the others Irama, world-knowledge -nya in mantan istrinya Syaiful Jamil Endophora, his in his ex-wife personal tersebut Tidak takut menantang Endophora, badai demonstrative ini in kali ini Situational Exophora this in this time ini in inilah Insert Investigasi Endophora, demonstrative

People of Tangerang Tangerang

anaphora anaphora,

anaphora, anaphora, anaphora,

cataphora,

anaphora, anaphora,

exophora,

Continued
Line Reference 22 -nya in pertikaiannya the in the conflict 24 -nya in dirinya her in herself 25 dia She 27 -nya in musiknya the in the music Refers to Dewi Perssik Dewi Perssik Dewi Perssik Dangdut Type Endophora, personal Endophora, personal Endophora, personal Endophora, personal anaphora, anaphora, anaphora, anaphora,

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29 29 30 30 31 35 36 37 38 41 42 45 46 46 49 50 51

-nya in penyanyinya the in the singer -nya in penggemarnya the in the fans sang in sang dewi -nya in penampilannya her in her performance -nya in penggemarnya her in her fans -nya in keberaniannya her in her courage -nya in penampilannya her in her performance -nya in kelebihannya her in her plus -nya in dirinya her in herself -nya in kebebasannya her in her freedom -nya in penampilannya her in her performance itu in luka itu that in that scar -nya in karirnya her in her career -nya in memboikotnya her in boycott her sang dewi -nya in penggemarnya her in her fans si raja dangdut the king of dangdut

Dangdut Dangdut Dewi Perssik Dewi Perssik Dewi Perssik Dewi Perssik Dewi Perssik Dewi Perssik Dewi Perssik Dewi Perssik Dewi Perssik Luka yang menyayat tubuh dangdut Inul Daratista

Endophora, personal Endophora, personal Endophora, personal Endophora, personal Endophora, personal Endophora, personal Endophora, personal Endophora, personal Endophora, personal Endophora, personal Endophora, personal pernah Endophora, musik demonstrative

anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora,

Endophora, personal Inul Daratista Endophora, personal Dewi Perssik Endophora, personal Inul Daratista Endophora, personal World-knowledge, Rhoma Exophora Irama

Continued
Line Reference 53 ada in ada pedangdut there in there is dangdut singer 55 mereka their 56 ini In para penggoyang sexy ini Refers to Inul Daratista, Annisa Bahar, Nita Thalia dan Dewi Persik trio macan Type Endophora, personal cataphora, anaphora, anaphora,

Endophora, personal Inul Daratista, Annisa Endophora, Bahar, Nita Thalia, Dewi personal

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57 59 64 64 65 67 68 68 69 70 71 72 73 74 78 79 79 80

these in these sexy dancers ini in kenyataan ini this in this fact -nya in kelihaiannya her in -nya in diusianya her in her 22nd years old ia she sang wali kota sang dewi sang dewi -nya in bibirnya her in her mouth -nya in dirinya her in herself -nya in mendukungnya her in support her -nya in memperalatnya her in use her -nya in popularitasnya his in his popularity ini -nya in juniornya her in her junior -nya in namanya her in her name -nya in hatinya her in her heart dia she -nya in keluarganya her in her family

Perssik dan Trio Macan banjir order manggung

Endophora, demonstrative Dewi Perssik Endophora, personal Dewi Perssik Endophora, personal Dewi Persik Endophora, personal Wali kota Tangerang Endophora, personal Dewi Perssik Endophora, personal Dewi Perssik Endophora, personal Dewi Perssik Endophora, personal Dewi Perssik Endophora, personal Dewi Perssik Endophora, personal Dewi Perssik Endophora, personal Wahidin Halim Endophora, personal masa pemilihan ketua Exophora daerah Annisa Bahar Endophora, personal Dewi Perssik Endophora, personal Dewi Perssik Endophora, personal Dewi Perssik Endophora, personal dia (Dewi Perssik) Endophora, personal

anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora, anaphora,

anaphora, anaphora, anaphora, anaphora, anaphora,

Continued
Line Reference 80 -nya in untuknya her in for her 81 -nya in penyanyinya the in the singers 84 itu in setiap ujian itu Refers to dia (Dewi Perssik) dangdut ujian Type Endophora, personal Endophora, personal Endophora, anaphora, anaphora, anaphora,

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84

sang dewi

Dewi Perssik

demonstrative Endophora, personal

anaphora,

There are 62 references according to the table above. The references that occur are varies. One of the most frequently occur is -nya that embedded in words. The categorization of reference-nya depends on the context, depends on how to link it to the referential meaning. If it is connected by looking at preceding text, it must be an anaphora. But, if the connection is by looking at the next text (following text), it must be a cataphora. One of the example of the use of -nya as in, Perseteruannya dengan wali kota Tangerang, Wahidin Halim, kian berkobar (Her conflict against the mayor of Tangerang, Wahidin Halim, is getting hotter) In the sentence above, -nya must be linked to its referential meaning to know what is meant by perseteruannya (conflict). Hence, it should be related to the previous text, Dewi Perssik masih berselimutkan amarah (Anger covers Dewi Perssik). After seeing this sentence, it is clearly that -nya in perseteruannya refers to Dewi Perssik. Besides, there are the uses of sang in front of proper names, as in sang walikota Dewi Perssik masih berselimutkan amarah. Perseteruannya dengan wali kota Tangerang, Wahidin Halim, kian berkobar. Setitik pun Dewi Perssik tak ingin undur

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langkah. Sementara sang wali kota bagai mendapat bantuan armada ketika beberapa kelompok masyarakat Tangerang menyatakan dukungannya (Anger covers Dewi Perssik. Her conflict against the mayor of Tangerang, Wahidin Halim, is getting hotter. Dewi does not want to step back, even for a little bit. Meanwhile, the mayor gains help of navy when a number of groups of Tangerang citizen give the support) By seeing the preceding text, Perseteruannya dengan the mayor of Tangerang, Wahidin Halim, kian berkobar. Setitik pun Dewi Perssik tak ingin undur langkah (Her conflict against the mayor of Tangerang, Wahidin Halim, is getting hotter. Dewi does not want to step back, even for a little bit), it is able to define what sang wali kota refers to in Sementara sang wali kota bagai mendapat bantuan armada ketika beberapa kelompok masyarakat Tangerang menyatakan dukungannya (Meanwhile, the mayor gains help of navy when a number of groups of Tangerang citizen give the support). It refers to the mayor of Tangerang. Not forgetting the holistic part of the text, there are also some references that are exophoras. To define what exophoras refer to, it is crucial to have worldknowledge on the case. For further explanation, there is an example, Justru Rhoma Irama dan barisan pendukungnya seperti Cici Faramida dan yang lainnya kian lenyap dari panggung hiburan (Accidentally Rhoma Irama and the followers like Cici Faramida and the others get disappeared from the stage of entertainment)

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If the analysis only focuses on the text, it is quite impossible to define the referential meaning of yang lainnya (the others). But, it is crucial to have worldknowledge on who are including as the followers of Rhoma Irama. Then, after knowing, the referential meaning can be found in ease. 4.2.2.3 Structure of sentence (Grammar) a) SVO construction (action) SVO construction shows an action. It involves just one participant or the doer and one object. In the text, there are 33 sentences with SVO construction, 30 with SVC construction and 27 sentences in the form of SV. Also, there are some sentences with minor pattern. There are 1 sentence only consists of subject and two sentences merely contain complement. For the analysis of some sentences of each construction will be written below 1) Sementara sang wali kota bagai mendapat bantuan armada ketika beberapa kelompok masyarakat Tangerang menyatakan dukungannya Meanwhile, the mayor gains help of a troop when a number of groups of Tangerang citizen give the support

The participant : sang wali kota The action : mendapat The object : bantuan armada

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The sentence above tells that wali kota as the participant is getting help and the help is in the form of armada 2) Belum hilang ingatan bagaimana dada Dewi Perssik dicolek seorang pria, kini pedangdut sexy tersebut lagi-lagi diterpa badai. Still fresh in mind how a man touched Dewi Perssiks breast, now, that sexy dangdut singer faces another storm This is a passive sentence, so the position is reversed. The participant (object in active voice) : pedangdut sexy The action : diterpa (passive form of menerpa) The object (the participant in active voice) : badai

Then, this sentence establishes the understanding that Dewi Perssik is the object of an action (diterpa).

3) Di usianya yang masih 22 tahun ia berani menantang badai In 22 years old, she dares to fight against the storm The participant : ia (personal pronoun) The action : menantang The object : badai

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4) Lebih parah lagi, Dewi Perssik bahkan menuding Wahidin Halim hanya memperalatnya demi mendongkrak popularitasnya sebagai persiapan masa pemilihan ketua daerah yang akan diadakan dalam waktu dekat ini. Even worse, Dewi accuses Wahidin Halim just use her to increase popularity as the preparation before the next regional election that will be held soon

The participant : Dewi Perssik The action : menuding The object : Wahidin Halim

5) Meski tidak selalu setuju dengan aksi panggung Dewi Perssik, namun Annisa justru menentang keras aksi pejabat yang coba melakukan pencekalan terhadap para penyanyi dangdut Though she does not always agree with Dewi Perssiks stage performance, but Annisa fights against the action of the ruling class who attempt to boycott dangdut singers.

The participant : Annisa The action : menentang keras

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The object : aksi pejabat yang coba melakukan pencekalan terhadap para penyanyi dangdut

b) SVC Construction (attribution) 1) Dewi Perssik masih berselimutkan amarah Anger covers Dewi Perssik This sentence consists of a participant (Dewi Perssik), a verb (berselimutkan) and a non-possessive attribute (amarah) This sentence is arranged to show the emotional state of Dewi Perssik by using diction berselimutkan. 2) Inul Daratista pernah bersimbah air mata Inul Daratista had ever cried a river The sentence can be analyzed into a participant (Inul Daratista), a verb (bersimbah) and a non-possessive attribute (air mata)

3) Penampilannya di atas panggung memang kerap kali mengundang decak kagum penggemarnya Her performance on stage often attracts the amazement from her fans Participant : penampilannya di atas panggung Verb : mengundang

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Non-possessive attribute : decak kagum penggemarnya

4) Sekali lagi dunia dangdut menjadi sorotan Once more, dangdut becomes the center of attention Participant : dunia dangdut Verb : menjadi Non-possessive attribute : sorotan

5) Meski penolakan terhadap dirinya juga ditunjukkan oleh sebagian masyarakat Tangerang, Dewi Perssik tetap percaya diri banyak masyarakat yang masih mendukungnya. Participant : Dewi Perssik Verb : Percaya diri Non-possessive attribute : banyak masyarakat yang masih mendukungnya

c) SV Construction (event) 1) dikecam Geliat tubuh di atas panggung mengikuti irama dangdut

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The body follows the rhytm of dangdut is threatened Participant : geliat tubuh di atas panggung mengikuti dangdut Event : dikecam 2) Tak kalah Gerang, Dewi Perssik pun meradang

Dewi Perssik also gets furious Participant : Dewi Perssik Event : meradang

3)

Ya, pertikaiannya dengan wali kota Tangerang kian memanas

Participant : pertikaiannya dengan wali kota Tangerang Event : kian memanas

4)

Fenomena lima tahun silam yang dialami Inul Daratista

kembali terulang Participant : fenomena lima tahun silam yang dialami Inul Daratista Event : kembali terulang

5) berkaca.

Namun di kala badai menerpa sepatutnya sang Dewi pun

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Participant : sang Dewi Event : berkaca Subject 2) Inul Daratista, Annisa Bahar, Nita Thalia dan Dewi Perssik Inul Daratista, Annisa Bahar, Nita Thalia and Dewi Perssik

This sentence mentions the names of popular dangdut singers. The pattern is Subject only because its aim is to name dangdut singers who have sensual dance.

Complement 3) Selalu meriah Always solemn Non-possessive attribution 4) Semeriah goyangan para penyanyinya As solemn as the shake of the singers

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Non-possessive attribution

4.2.3 Analysis and Comparison In this part, the researcher is going to present the holistic analysis of the texts by choosing some paragraphs; opening, body and closing paragraph, from each text. Then the researcher will analyze further holistically in order to figure out what is the hidden intention behind the text. Those ten sentences are chosen in the basis of its content of information. Afterwards, the result will be compared between those texts to find out the difference in ideology (the way of thinking or the way the messages being displayed).

4.2.3.1 Holistic Analysis In holistic analysis, the researcher will take ten sentences from each text to be analyzed further and in details. This analysis will depict the ideology of the text produced by those two infotainment programs (Silet and Insert Investigasi). The analysis will begin by the analysis of the text of Silet as below.

4.2.3.1.1 Silet Opening paragraphs Panggung dangdut kembali bergoyang. Dewi Muria Ani alias Dewi Perssik, salah satu maskot dangdut yang terkenal dengan goyangan gergaji, sedang berada di

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ambang kehancuran karir. Kabarnya senin petang kemarin Dewi didemo sebagai buntut dari kasus rencana pencekalan Dewi Perssik. Namun di wilayah kotamadya Tangerang permasalahan ternyata masih panjang dan alot. Kisruh pencekalan itu menggerogoti kesenangan Dewi Perssik sehingga senin kemarin Dewi secara khusus mendatangi ustad Yusuf Mansur. Apa maksud kedatangan Dewi di rumah sang ustad? Dangdut stage shakes again. Dewi Muria Ani known as Dewi Perssik, one of dangdut mascots, who is well-known with her saw dance, is in the edge of career destruction. Last Monday evening, Dewi was protested as the continuation of the case of Dewi Perssiks boycott. Nevertheless, in Tangerang, the case is getting longer and difficult. The boycott had lost Dewi Perssiks pleasure so that last Monday, Dewi, specially, visited ustad Yusuf Mansur. What was the intention of Dewis coming to ustads house? The opening paragraphs above start with the use of personification expression, Panggung dangdut kembali bergoyang (Dangdut stage shakes again). The word bergoyang (shakes) is primarily used for human being or life creature. By using the principle of personification, this sentence intends to state the condition of dangdut. Also, it gives an interesting part of the opening. Since the opening part of news must be attractive enough to catch viewers attention. Thus, this text also applies the same method. The use of the word kembali (again) reveals presumption that the event has already happened before in the past.

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The opening continues with the sentence Dewi Muria Ani alias Dewi Perssik, salah satu maskot dangdut yang terkenal dengan goyangan gergaji, sedang berada di ambang kehancuran karir. That sentence tells about what is meant by the previous statement, what has happened in dangdut. This sentence explicitly and directly gives information to the viewer. The occurrence of the word maskot dangdut (dangdut mascot) implies that this news is crucial enough for dangdut and it is the cause of the event in the previous sentence. Moreover, the ending of the sentence sedang berada di ambang kehancuran karir (was in the edge of career destruction) embodies the impression that the case affects the career of Dewi Perssik. Kabarnya senin petang kemarin Dewi didemo sebagai buntut dari kasus rencana pencekalan Dewi Perssik (Last Monday evening, Dewi was protested as the continuation of the case of Dewi Perssiks boycott) as the third sentence constitutes on constructing the news. The use of the word kabarnya seems to weaken the following statement because kabarnya is uncertain yet but it can truly be a fact. So it is till doubtable in its trustworthiness. After that, the sentence is followed by the passive form in which Dewi is depicted as the receiver of the action (Dewi didemo Dewi was protested). The remaining part of the sentence states the cause of the previous part by the presence of the word sebagai (causal conjunction) in sebagai buntut dari kasus rencana pencekalan Dewi Perssik (as the continuation of the case of boycott toward Dewi Perssik). Then, the paragraph follows by the sentence, Kisruh pencekalan itu menggerogoti kesenangan Dewi Perssik sehingga senin kemarin Dewi secara khusus

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mendatangi ustad Yusuf. That sentence shows the cause-effect relationship where the cause is Kisruh pencekalan itu menggerogoti kesenangan Dewi Perssik (the first claus) and the effect is sehingga senin kemarin Dewi secara khusus mendatangi ustad Yusuf Mansur (the second clause). The use of the word menggerogoti (have lost) is in the form of personification since the subject is an abstract noun (kisruh pencekalan itu). That personification tries to exhibit the effect of the action mentioned previously (pencekalan). The demonstrative reference itu refers to pencekalan (boycott) done by walikota Tangerang. It wants to specify which action meant so the word itu is used. Besides, the second clause of that sentence as the effect of the first clause mentions the action of Dewi Perssik (mendatangi ustad Yusuf Mansur). If it is interpreted directly, it has the meaning that Dewi comes to ustad Yusuf Mansur, Dewi is the doer of the action, without any information about the place or location. But, regarding the following sentence, Apa maksud kedatangan Dewi di rumah sang ustad? (what was the intention of Dewis coming to ustads house?), then it is known that Dewi comes to the house of Ustad Yusuf Mansur. This question also functions as the closing sentence of the paragraph. Overall, this paragraph perceives the case encountered by Dewi Perssik as a crucial case and it has bad impact to Dewi Perssiks life. Therefore she comes to ustad Yusuf Mansur. Yet, the aim is still unknown because it doesnt occur in this paragraph. Thats why it is still being questioned by presenting the sentence in interrogative form. Body Paragraphs

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Memanasnya kontroversi seputar rencana pencekalan Dewi Perssik yang bergulir sejak pertengahan minggu lalu sempat memunculkan perang pernyataan yang keras antara Dewi Perssik dan pihak wali kota Tangerang, H Wahidin Halim. Bahkan pihak kuasa hukum Dewi kini melayangkan somasi kepada pihak wali kota. Di tengah tingginya tensi kekisruhan, selepas pertemuan Dewi dan ustad Yusuf Mansur tadi malam, secara mengagetkan pihak wali kota melalui humasnya, wali kota Tangerang, H Saiful Rahman menyatakan memaafkan bahkan mendoakan Dewi Perssik. The hot situation of the controversy about the planning of boycott toward Dewi Perssik that had appeared since the middle of last week, arised the battle of statements between Dewi Perssik and the mayor of Tangerang, H Wahidin Halim. Even, the lawyer of Dewi Perssik now sends letter of somation to the Mayor. In the high tension of the conflict, after the meeting between Dewi and ustad Yusuf Mansur last night, surprisingly, the Mayor, through his public relation staff, the Mayor of Tangerang, H Saiful Rahman, states that he has already forgiven Dewi Perssik and even prayed for her. Ketegangan wali kota dan Dewi Perssik berawal dari pernyataan sang wali kota di sebuah media yang menyoal busana dan goyangan erotis Dewi Perssik yang dituding menabrak keluar dari akhlakul karimah yang menjadi pusat kemaslahatan kotamadya Tangerang The tension between the Mayor and Dewi Perssik began with the statement of the Mayor in a media, which raised a matter on Dewi Perssiks clothes and erotic shake,

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which was accused to break the akhlakul karimah, the center of advantage in Tangerang. The body paragraphs contain the content of the news. At the first tine, the researcher is quite difficult to determine which paragraph to analyze. Nevertheless, the researcher decides to take three paragraphs from the whole body text due to its valuable content as can be read above. Those three paragraphs are taken in row so that there is relation among others in order to conduct the analysis in ease. It begins with the information of the latest condition of the conflict as in Memanasnya kontroversi seputar rencana pencekalan Dewi Perssik yang bergulir sejak pertengahan minggu lalu sempat memunculkan perang pernyataan yang keras antara Dewi Perssik dan pihak wali kota Tangerang, H Wahidin Halim. These sentence is in active form (memunculkan) and the participant is the clause memanasnya kontroversi seputar rencana pencekalan Dewi Perssik yang bergulir sejak pertengahan minggu lalu (The hot situation of the controversy about the planning of boycott toward Dewi Perssik that had appeared since the middle of last week), while the action issempat memunculkan (arised) and the remaining part positions as the object. Therefore, what has happened to Dewi Perssik creates

another action between Dewi and the Mayor. The use of the word rencana (the planning) before the word pencekalan (boycott) indicates that the act of pencekalan (boycott) has indeed not been undertaken yet. It is still the planning of the chief. Besides, there is the phrase perang pernyataan (battle of statement)

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which embodies the impression that between Dewi and Walikota, there is a complicated conflict involving arguments from each others. The following sentence starts with the use of the conjunction bahkan (even) which serves as an affirmation of preceding sentence. Bahkan pihak kuasa hukum Dewi kini melayangkan somasi kepada pihak wali kota (Even, the lawyer of Dewi Perssik now sends letter of somation to the Mayor). It is stated that pihak kuasa hukum Dewi kini melayangkan somasi kepada pihak wali kota (EThe lawyer of Dewi Perssik now sends letter of somation to the Mayor) as though to show the next action that happen in the conflict. Besides, it exhibits the worse and more complicated condition in which it has already become a law matter. This is known by the occurrence of the word pihak kuasa hukum (lawyer) and somasi (somation) which are considered as law terms. The sentence above is an active sentence in which the doer is pihak kuasa hukum Dewi, the action is melayangkan (sends) and the object is somasi (somation). Also, there is indirect object kepada pihak wali kota (to the Mayor). This structure implies the position of pihak kuasa hukum as the doer of the action and pihak wali kota is portrayed as the receiver of the action. After concerning and knowing the case, in a sudden, there is a twist in the next sentence as in Di tengah tingginya tensi kekisruhan, selepas pertemuan Dewi dan ustad Yusuf Mansur tadi malam, secara mengagetkan pihak wali kota melalui humasnya, wali kota Tangerang, H Saiful Rahman menyatakan memaafkan bahkan mendoakan Dewi Perssik (In the high tension of the conflict, after the meeting between Dewi and ustad Yusuf Mansur last night, surprisingly, the Mayor, through

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his public relation staff, the Mayor of Tangerang, H Saiful Rahman, states that he has already forgive Dewi Perssik and even prayed for her). The contrast condition starts with the clause Di tengah tingginya tensi kekisruhan (In the high tension of the conflict) which aims to give the description of the circumstance. It is followed by the phrase secara mengagetkan (surprisingly) which wants to twist the statement from the previous statement. Then, finally, the remaining part clearly mentions that the mayor already forgives, even prays for Dewi Perssik. Meanwhile, as stated in previous sentences, between Dewi Perssik and the chief, there is undeniable conflict. But, out of blue, there is a twist in the end of the paragraph. The twist may functions to close the paragraph by giving the very latest condition which shows contrast. The contrast condition is built up by the use of the phrase secara mengagetkan (surprisingly) after giving information that the conflict is in high tension. This paragraph, after all, is trying to conceive the conflict in high tension. Even it has become law case. Besides, the paragraph is stating that, yet the conflict is already a law matter, but the Mayor, out of blue, says that he has forgive Dewi Perssik even he prays for her. However, the presence of the word secara mengagetkan (surprisingly) indicates that it should not be the proper act done by the Mayor due to the conflict. Therefore, that phrase also indicates what is behind the apology given. Besides, the most important thing, in this paragraph, it is told that the boycott toward Dewi Perssik is still a plan. The following paragraph is the explanation of the cause of the conflict. It is indicated by the existence of the phrase berawal dari (begins with) in the sentence.

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The cause of the conflict, based on the sentence, is the statement mentioned by the chief. He says that Dewi Perssik is already out of the rules of what so called akhlakul karimah. Her dance and her clothes do not proper with the principles of akhlakul karimah. While the society (Tangerang) holds the principles of akhlakul karimah. It is as if Dewi breaks the value of the society. Therefore, it is as though Dewi is the one to blame and the action of the chief is already the proper one. Sebelumnya Dewi sempat kecewa dengan wacana pencekalan dirinya yang digulirkan sang wali kota karena diduga membunuh karakter Dewi dalam berkarir di panggung dangdut. Kepada tim silet, wali kota Tangerang mengaku hingga saat ini belum melakukan pencekalan terhadap Dewi Perssik, tetapi hanya menghimbau agar para pedangdut yang akan tampil di Tangerang memperhatikan gaya busana dan aksi panggungnya agar tidak kebablasan. Before, Dewi feels regret with the discourse of boycott toward her, undertaken by the Mayor, because it is assumed that it will kill the character of Dewi Perssik in her career in dangdut. To Silet team, the Mayor admits, until now, he has not carried out the boycott yet, but just gives the suggestion to dangdut singers who will perform in Tangerang to pay attention in wearing clothes and performing on stage, not to be out of rules. This paragraph begins with the word sebelumnya (before) and followed by Dewi sempat kecewa dengan wacana pencekalan dirinya yang digulirkan sang wali kota karena diduga membunuh karakter Dewi dalam berkarir di panggung dangdut (Dewi feels regret with the discourse of boycott toward her, undertaken by the Mayor,

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because t is assumed to kill the character of Dewi Perssik in her career in dangdut). Again, it is need to be underline that boycott toward Dewi Perssik is still in the form of discourse (wacana) so it still debatable and undone. What Dewi feels is that she regrets of the boycott undertaken by the Mayor since it is able to be the barrier in her career. It can kill her character. Then, it arises question, what kind of character? On the contrary, in the next sentence, the Mayor says that he has not carried out the action yet, but he just suggests to all dangdut singers to give attention to the clothes and stage performance when they perform in Tangerang. There is a conjunction tetapi (but) which shows contrast condition in which the contrast condition is the Mayor merely giving suggestion. There is no an action named pencekalan (boycott). It seems that the chief wants to have good impression by giving such suggestion. Moreover, the ending clause of the sentence, agar tidak kebablasan (not to be out of rules) implies that the usual dangdut singers perform out of control and the Mayors suggestion intends to make it straight and under the rules or values of the society. Besides, this sentence is applied active pattern, where the Mayor is the doer and Dewi Perssik is the receiver of the action. While, the action itself is belum melakukan pencekalan terhadap Dewi Perssik (has not carried out the boycott toward Dewi Perssik yet). The occurrence of the phrase hingga saat ini (until now) implicitly tells that the action has not carried out until now but maybe it can be done tomorrow. Beside that, the use of the word mengaku (admits), instead of the word mengatakan (says) indicates the feeling of guilty of doing something. It is firmly predicted, concerning the sentences, the use of the word mengaku (admits) is

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attempting to establish the negative sense on the action itself. It is as if what will be done by the mayor (boycott) consists of something that makes him feel unease. The writer probably would like to show that way. All in all, the body paragraphs above attempts to conceive the condition of the conflict between Dewi Perssik and the Mayor. The conflict is already in high tension but shockingly the Mayor turns his way into forgiving Dewi Perssik even praying for her. Then, the body paragraph also mentions the cause of the conflict in which it is as if Dewi Perssik is the one to blame. The last paragraph being analyzed tells the fact that actually the action of the Mayor is undone. But it is already widely heard. In conclusion, Silet attempts to perceive the conflict as a crucial matter and it affects Dewi Perssiks life and career. Besides, the conflict has already become law case. But, even though, the case is already a law case, the Mayor gives a shocking response by forgiving Dewi Perssik, even praying for her. This is a twist of the conflict and also there is something behind the response. It is still being questioned. Silet questions the response of the Mayor as hidden intention. It is not clear enough what is the hidden intention however it is firmly predicted that there is the relation with the plan of the chief to be the chief again in the next period. So, Silet does not only depict Dewi Perssik as the one to blame though she has very sexy dance that break the value of eastern culture, but also create the opinion of what is something behind the apology given by the Mayor. Beside that, Silet also provide the fact that the boycott has not ben carried out yet but only suggestion.

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4.2.3.1.2 Insert Investigasi Opening Paragraph Dewi Perssik masih berselimutkan amarah. Perseteruannya dengan wali kota Tangerang, Wahidin Halim, kian berkobar. Setitik pun Dewi Perssik tak ingin undur langkah. Sementara sang wali kota bagai mendapat bantuan armada ketika beberapa kelompok masyarakat Tangerang menyatakan dukungannya. Bahkan ada yang melarang kaset dan CD Dewi beredar disana. Pertikaian ini pun mengoyak hluka lama yang dulu sempat menyayat tubuh musik dangdut. Rhoma irama berdiri di garda depan penentang para pedangdut yang mengandalkan goyang sexy plus dengan pakaian ketat dan minim yang mempertontonkan mulusnya kulit pedangdut. Inul Daratista pernah bersimbah air mata. Namun, sekeras apapun suara-suara yang ingin mengekang, goyang dangdut terus berkembang. Bahkan goyang demi goyang makin menggila. Jika Dewi Perssik muncul dengan goyang gergajinya, ada juga Annisa Bahar dengan goyang patah-patahnya. Goyang ngebor dicekal, seribu goyang lain muncul bak cendawan di musim hujan. Toh mereka punya pasar. Pagelaran musik dangdut nyaris tak pernah sepi. Anger covers Dewi Perssik. Her conflict against the mayor of Tangerang, Wahidin Halim, is getting hotter. Dewi does not want to step back, even for a little bit. Meanwhile, the mayor gains help of a troop when a number of groups of Tangerang citizen give the support. Even, some prohibit the cassette and CD of Dewi Perssik to be sold there. This conflict tears old wound that has scared dangdut. Rhoma irama stand in the front row to fight against Dangdut singers who show their sexy dance

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with sexy clothes to show off their beautiful skin. Inul daratista had ever cried a river. However, how load the sound to fight is, dangdut shake still grows up and develops. Even the shake is getting more lunatic. If Dewi Perssik has gergaji shake, there is Annisa bahar with patah-patah shake. Ngebor shake is boycott, other thousand dance comes like mushroom in rainy season. They have their own market. Dangdut music performance will never lose the audiences. The text is opened with the presence of metaphorical expression, Dewi Perssik masih berselimutkan amarah (Anger covers Dewi Perssik). Opening part has function to attract viewers attention through its attractive language. By using this metaphor, it is able to do so. Dewi Perssik masih berselimutkan amarah means the anger of Dewi Perssik has already covered all of her body. It shows the anger is already getting worse. Perseteruannya dengan wali kota Tangerang, Wahidin Halim, kian berkobar (Her conflict against the mayor of Tangerang, Wahidin Halim, is getting hotter) is an exaggeration expression to add information of the previous sentence. This states the condition of the conflict and also the cause of the preceding sentence. Then, it is followed by Setitik pun Dewi Perssik tak ingin undur langkah (Dewi does not want to step back, even for a little bit) that shows the response of Dewi Perssik to the conflict being faced. Meanwhile the next sentence shows the contrast condition, when Dewi Perssik is in anger, the chief gets support from his citizen, in Sementara sang wali kota bagai mendapat bantuan armada ketika beberapa kelompok masyarakat Tangerang menyatakan dukungannya (Meanwhile,

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the mayor gains help of a troop when a number of groups of Tangerang citizen give their support). Clearly seen, sang wali kota refers to the mayor of Tangerang and nya in dukungannya (their support) definitely refers to beberapa kelompok masyarakat Tangerang (a number of groups of Tangerang citizen). It is necessary to be underlined that not all people in Tangerang in line with the action done by the chief. It is proved by the sentence above that mention beberapa kelompok masyarakat Tangerang menyatakan dukungannya (a number of groups of Tangerang citizen give their support). It means that there are some groups that in line with the Mayor, not all people in Tangerang. Besides, there is the word armada (navy) that gives the sense of battlefield. So, the conflict is portrayed as if it is a war. The paragraph continues with the sentence Bahkan ada yang melarang kaset dan CD Dewi beredar disana (Even, some prohibit the cassette and CD of Dewi Perssik to be sold there). That sentence begins with the conjunction bahkan (even) to emphasize the event of the previous sentence with this sentence. The word disana (there) refers to Tangerang since that city is being mentioned previously. The next sentence is Pertikaian ini pun mengoyak luka lama yang dulu sempat menyayat tubuh musik dangdut (.This conflict tears old wound that has scared dangdut) in which the word ini (this) wants to specify the conflict to the conflict happen between Dewi and the Mayor. The sentence is using hyperbole expression with the use of mengoyak (tears) and menyayat (scared) as though what has happened to Dangdut extremely hurts and is painful. Then the sentence is followed by the statement,Rhoma irama berdiri di garda depan penentang para

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pedangdut yang mengandalkan goyang sexy plus dengan pakaian ketat dan minim yang mempertontonkan mulusnya kulit pedangdut (Rhoma irama stand in the front row to fight against Dangdut singers who show their sexy dance with sexy clothes to show off their beautiful skin). The statement involves mentioning the name of one of the dangdut legend, Rhoma Irama, as the pioneer to battle with the dangdut singer who only shows the sexy dance and sexy clothes. It seems to give background information of world- knowledge of dangdut cases. Afterwards, it mentions the similar previous case, that is the conflict of Rhoma Vs Inul, where there is the background information before. It can be seen that Inul is categorized as dangdut singer who shows her sexy dance and sexy clothes. The use of the word bersimbah air mata (cried a river) seems to exaggerate the condition of the conflict. Nevertheless, the occurrence of the word namun in the following sentence arises contrast condition. The contrast condition in Namun, sekeras apapun suarasuara yang ingin mengekang, goyang dangdut terus berkembang (However, how load the sound to fight is, dangdut shake still grows up and develops), is although there are oodless of conflicts, barriers, dangdut dance still grows up and develops. Then the current condition is empashized by the next sentence Bahkan goyang demi goyang makin menggila (Even the shake is getting more lunatic). The existence of bahkan (even) looks like the emphasis of the preceding sentence. The remaining parts still encourage the previous sentence as in Jika Dewi Perssik muncul dengan goyang gergajinya, ada juga Annisa Bahar dengan goyang patah-patahnya (If Dewi Perssik has gergaji shake, there is Annisa bahar with patah-patah shake). Goyang ngebor

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dicekal, seribu goyang lain muncul bak cendawan di musim hujan (Ngebor shake is boycott, other thousand shakes come like mushroom in rainy season). There is a simile using the word bak (like) that compares between the occurence of sexy dances with cendawan (mushroom) in the rainy season. It means the coming is inevitable. The next sentence tells the cause of why dangdut with sexy dance can be so popular. It is because they have their own market as stated in Toh mereka punya pasar (They have their own market). Therefore, the result or the impact is that dangdut will never lose its audiences, as mentioned in the last sentence of the opening, Pagelaran musik dangdut nyaris tak pernah sepi (Dangdut music performance will never lose the audiences.).

Body Paragraph Panggung hiburan sepertinya sudah menjadi bagian dari hidup sang Dewi. Penampilannya di atas panggung memang kerap kali mengundang decak kagum penggemarnya. Namun bukan decak kagum yang berselimutkan simpati, melainkan yang mengundang birahi. Dan usaha sang Dewi untuk terus menghibur menuai kontroversi, layaknya yang pernah menimpa Inul Daratista. Lantas, akankah sang Dewi bernasib sama seperti Inul? Stage ofentertainment seems to be part of Dewis life. Her performance on the stage is likely to attract the praise of amazement from her fans. However, not amazement in sort of sympathy, but amazement in sort of passion or desire. And the effort of sang

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Dewi to keep entertaining, result controversy, like what has happened to Inul Daratista. So, will sang Dewi has the same destiny as Inul? Tak ada yang menampik kecantikan Dewi Perssik. Kulit putih, usia muda ditambah keberaniannya bergoyang yahud di atas pentas menjadi jaminan penampilannya tak bakal kekurangan penonton. Namun karena kelebihannya itu pula, Dewi tak pernah berhenti dirundung masalah. Baru tiga bulan dirinya menjanda, kini cobaan datang menghampiri. Syaiful pun tertegun Nobody denies the beauty of Dewi Perssik. Fair skin, young age, plus her bravery to dance sexy on the stage will be the warranty her show will never be lack of audiences. But, because of those plus things, problems never stop coming to her life. Only three months become a widower, now, obstacle comes to her life. Syaiful can merely be in silence. Syaiful hafal betul watak Dewi Perssik. Kekerasan hati Dewi juga lah yang akhirnya membuat Syaiful mengajukan gugatan cerai untuk Dewi. Dan setelah tiga bulan berlalu, Dewi tetap saja tak berubah. Tetap saja Dewi seorang wanita yang gampang meledak tatkala kebebasannya diusik. Syaiful knows exactly Dewis character. The stubbornness of Dewi also makes Syaiful to divorce her. And after three months passes, Dewi has not changed. She is still a woman who explodes when her freedom is disturbed. The body paragraphs contain the elaboration of the conflict. The paragraph above begins with introductory part by stating that Panggung hiburan sepertinya sudah menjadi bagian dari hidup sang Dewi (Stage ofentertainment seems to be part

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of Dewis life). Then, it is followed by the contrasting statement in which the performance of Dewi Perssik arises passion. Ther is the conjunction

namun.melainkan (howeverbut.) to show contrast from the preceding sentence, Penampilannya di atas panggung memang kerap kali mengundang decak kagum penggemarnya (Her performance on the stage is likely to attract the praise of amazement from her fans). It is explained that her fans do not adore her in the form of symphaty, but they adore her due to her performance that arises passion. Then, there is an addition of information by presenting the conjunction dan (and) in the sentence usaha sang Dewi untuk terus menghibur menuai kontroversi (And the effort of sang Dewi to keep entertaining, result controversy, like what has happened to Inul Daratista). It shows that Dewi Perssiks performance is merely a part of entertainment, yet it causes controversy. The controversy has already happened before to another dangdut singer since there is the word layaknya as the comparison to similar thing in layaknya yang pernah menimpa Inul Daratista (like what has happened to Inul Daratista). This paragraph ends by giving question of comparison. Will Dewi Perssik have the same destiny as Inuls? It is as the continuity of the preceding sentence. The next paragraph begins with the admission that Dewi Perssik is beautiful. It is continued with the explanation of her beauty in Kulit putih, usia muda ditambah keberaniannya bergoyang yahud di atas pentas menjadi jaminan penampilannya tak bakal kekurangan penonton (Fair skin, young age, plus her bravery to dance sexy on the stage will be the warranty her show will never be lack of audiences). There is also

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another side of her beauty which is her courage to perform sexy dance. It can guarantee her performance to be sold out. Yet, the following statement wants to show contrast by the presence of the conjunction namun (adversative conjunction). She has many plus things, but, on the contrary, these plus things also cause problems in her life. Baru tiga bulan dirinya menjanda, kini cobaan datang menghampiri (Only three months become a widower, now, problems come to her life) expresses that the problems wont stop haunting her. Though she merely got divorced three months ago, but now, there are problems. The use of baru..kini. (onlynow) seems to stress how Dewis life is pitiful. Meanwhile, the last sentence of the paragraph, out of blue, mentions syaiful, the X-husband of Dewi Perssik although he is not being mentioned previously. So, how does the viewer know Syaiful is xhusband of Dewi Perssik? Finally, the question is answered in the next paragraph which is open by telling about what Syaiful feels concerning the case of Dewi Perssik. It is begun with Syaiful hafal betul watak Dewi Perssik (Syaiful knows exactly Dewi Perssiks character). Then, it arises question, what kind of character (watak)? By regarding the next sentence, Kekerasan hati Dewi juga lah yang akhirnya membuat Syaiful mengajukan gugatan cerai untuk Dewi (The stubbornness of Dewi also makes Syaiful to divorce her), it is known that the stubbornness is the character meant in the preceding part. In addition, that character ais also the cause of the divorcement. There is an elaboration by including the conjunction Dan (and) in the following sentence.

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In Dan setelah tiga bulan berlalu, Dewi tetap saja tak berubah, (And after three months passes, Dewi has not changed) there is an opinion that after three months of divorcement, there is no change of Dewi Perssik. The use of tetap saja (still) would like to emphasize that there is absolutely no change. Moreover, in the following statement, Tetap saja Dewi seorang wanita yang gampang meledak tatkala kebebasannya, (She is still a woman who explodes when her freedom is disturbed), the phrase tetap saja seems to stress the preceding condition in which Dewi has not changed. Also, in this sentence, there is the further explanation of why there is a statement like that. It seems that Dewi Perssik is still labil and does not like her freedom being disturbed. In short, she is still stubborn.

Closing Paragraph Hidup memang diwarnai sejuta misteri. Tak ada yang tahu apa yang akan terjadi di kemudian hari. Hanya umat yang berserah kepada Sang Kuasa yang sanggup mengatasi badai yang menerpa. Dan biarlah setiap ujian itu mampu mendewasakan diri. Namun di kala badai menerpa sepatutnya sang Dewi pun berkaca. Life is full of mistery. No one knows what will happen in the next days. Only people who give everything to God are able to encounter the storm. And, let every problem makes us more mature. Nevertheless, when the storm comes, it is better for sang Dewi to make self-correction. The closing paragraph starts with the sentence Hidup memang diwarnai sejuta misteri (life is full of mistery) as the introduction to the next part. It conceives

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the conflict as a mistery. Then, the following statement Tak ada yang tahu apa yang akan terjadi di kemudian hari (No one knows what will happen in the next days) is another wise words to end the text. Also, the remaining parts function to end the text by using wise words. However, in the last sentence, Namun di kala badai menerpa sepatutnya sang Dewi pun berkaca (Nevertheless, when the storm comes, it is better for sang Dewi to make self-correction), beginning with the conjunction namun (contrast), it is attempting to build up the contrast condition. It is suggestion and teasing sentence to Dewi Perssik by presenting the word sepatutnya (it is better) and the clause sang Dewi pun berkaca (sang Dewi make self correction). This can be said suggestion and teasing expression regarding the fact that Dewi Perssik responses the conflict by blaming the Mayor. There is no self-introspection toward her self. The closing paragraph attempts to give suggestion and also to tease Dewi Perssik to have self-correction.

4.2.3.2 Comparison This part will compare the result of analysis between Silet and Insert Investigasi. Below is the table of comparison: Table 12 Comparison between Silet and Insert Investigasi
The things being compared Silet Insert Investigasi

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Dewi Perssik

1) Dewi Perssik is a mascot of Dangdut Dewi Muria Ani alias Dewi Perssik, salah satu maskot dangdut yang terkenal dengan goyangan gergaji, sedang berada di ambang kehancuran karir (Dewi Muria Ani known as Dewi Perssik, one of dangdut mascots, who is well-known with her saw dance, is in the edge of career destruction) 2) She is still popular and the demand of her performance, indeed, still arises

1) Dewi Perssik is beautiful but her beauty also causes problems Tak ada yang menampik kecantikan Dewi Perssik. Kulit putih, usia muda ditambah keberaniannya bergoyang yahud di atas pentas menjadi jaminan penampilannya tak bakal kekurangan penonton. Namun karena kelebihannya itu pula, Dewi tak pernah berhenti dirundung masalah (Nobody denies the beauty of Dewi Perssik. Fair skin, young age, plus her bravery to dance sexy on the stage will be the warranty her show will never be lack of audiences. But, because of those plus things, problems never stop coming to her life)

Seperti berkah dalam kemalangan, permintaan terhadap Dewi justru meningkat dan sama 2) Dewi has high self-confidence sekali tidak terpengaruh isu Dewi Perssik tetap percaya diri pencekalan dirinya banyak masyarakat yang masih (Like blessing in disguise, the mendukungnya demand of Dewi Perssik increases (Dewi still believes that there are and is not affected by the issue of many people encourage her) boycott toward herself at all) 3) Dewi Perssik is a rebellious singer in Dangdut Sementara di sisi lain ada pedangdut yang dituding sebagai pembangkang. Inul Daratista, Annisa Bahar, Nita Thalia dan Dewi Perssik (While on the other side, there are dangdut singers who are accused as the rebellers)

4) Dewi Perssik is supposed to have self-correction Namun di kala badai menerpa sepatutnya sang Dewi pun berkaca. (Nevertheless, when the storm comes, it is better for sang Dewi to make selfcorrection)

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The Mayor Tangerang

of

The conflict

1) Creates the discourse of 1) The Mayor will undertake boycott boycott if Dewi still performs the sexy dance Pencekalan Dewi Perssik untuk Sementara pemerintah kota tampil di wilayah kotamadya Tangerang sebaliknya mengancam Tangerang dipicu pernyataan salah akan memboikot Dewi Perssik kalau satu calon wali kotanya yang masih tetap tampil vulgar dan mensinyalir adanya unsur seronok seronok dan erotis pada aksi panggung 2) The Mayor gets oodless of supports Dewi from the citizen of Tangerang (The boycott toward Dewi Perssik Sementara sang wali kota bagai to perform in Tangerang is begun mendapat bantuan armada ketika by the statement of the Mayor who beberapa kelompok masyarakat indicates that there are vulgar and Tangerang menyatakan dukungannya. erotic parts in her stage performance) Bahkan ada yang melarang kaset dan CD Dewi beredar disana 2) The Mayor is predicted has a (Meanwhile, the mayor gains help of hidden intention in carrying troop when a number of groups of out pencekalan and giving Tangerang citizen give the support. apology Even, some prohibit the cassette and Kasus rencana pencekalan CD of Dewi Perssik to be sold there) terhadap Dewi Perssik kuat diduga 3) The Mayor, in dewis opinion, uses terlanjur dipolitisir oleh pihakDewi Perssik to get popularity and pihak tertentu. sympathy (The case of the planning of boycott Lebih parah lagi, Dewi Perssik toward Dewi Perssik is already bahkan menuding Wahidin Halim politized by certain groups of hanya memperalatnya demi people) mendongkrak popularitasnya sebagai persiapan masa pemilihan ketua Orasi yang dilakukan di hadapan daerah yang akan diadakan dalam warga Tangerang yang waktu dekat ini menyinggung gaya busana dan (Even worse, Dewi Perssik accuses goyangan sejumlah penyanyi Wahidin Halim only use her to diduga sebagai sarana kampanye increase popularity as the preparation terselubung of regional election that will be held (the oration done in front of the soon citizen of Tangerang about the clothes and shakes of some dangdut singers are predicted as illegal campaign 1) It perceives the conflict as a 1) There is a flashback to the case of crucial matter because it Inul Daratista disturbs Dewis life and Pertikaian ini pun mengoyak luka career lama yang dulu sempat menyayat Dewi Muria Ani alias Dewi tubuh musik dangdut. Perssik, salah satu maskot dangdut (This conflict tears old wound that has

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yang terkenal dengan goyangan scared dangdut) gergaji, sedang berada di ambang Rhoma irama berdiri di garda kehancuran karir depan penentang para pedangdut (Dewi Muria Ani known as Dewi yang mengandalkan goyang sexy plus Perssik, one of dangdut mascots, dengan pakaian ketat dan minim yang who is well-known with her saw mempertontonkan mulusnya kulit dance, is in the edge of career pedangdut. destruction) (Rhoma irama stand in the front row 2) The conflict is depicted as law to fight against Dangdut singers who matter show their sexy dance with sexy Wacana pencekalan Dewi Perssik clothes to show off their beautiful semakin memanas setelah tim kuasa skin) Dewi Perssik berencana akan Inul Daratista pernah bersimbah melakukan somasi terhadap wali air mata kota Tangerang, H Wahidin Halim. (Inul daratista had ever cried a river) (The planning of boycott toward 2) The conflict is another storm in her Dewi Perssik is getting hotter after life, after facing many storms. the lawyer of Dewi Perssik has plan Belum hilang ingatan bagaimana to send letter of somation to the dada Dewi Perssik dicolek seorang mayor of Tangerang, H Wahidin pria, kini pedangdut sexy tersebut Halim) lagi-lagi diterpa badai Bak berbalas pantun, pihak wali (Still fresh in mind how a man kota Tangerang pun tak mau kalah touched Dewi Perssiks breast, now, menuntut pertanggung jawaban that sexy dangdut singer faces another Dewi Perssik. storm) (Like reciting poems, the mayor of Tangerang also wants to aks the Baru tiga bulan dirinya menjanda, responsibility of Dewi Perssik) kini cobaan datang menghampiri Kabarnya tidak tanggung(Only three months become a tanggung, kantor pengacara Otto widower, now, obstacle comes to her Cornelius sekaligus sarjana hukum life) ditunjuk untuk menghadang 3) The conflict is wound for Dangdut rencana somasi Dewi Luka itu kembali menganga Totally, the famous lawyer, Otto (The scar is open again) Cornelius, is appointed to tackle the Pertikaian ini pun mengoyak luka somation from Dewi Perssik) lama yang dulu sempat menyayat nd tubuh musik dangdut. 3) Mentions the conflict is 2 (This conflict tears old wound that has episode of Inul Daratistas scared dangdut) case (Inul Vs Rhoma Irama) Kontroversi rencana pencekalan 4) The conflict is associated with Inuls case Dewi Perssik, mengulang kembali Fenomena lima tahun silam yang pro kontra Inul Daratista lima dialami Inul Daratista kembali tahun silam. terulang. (The controversy of the planning of (The phenomena of Inul Daratista five boycott toward Dewi Perssik years ago is repeated) repeats the pro contra of Inul

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The response to the conflict

Dewi Perssik

Daratista five years ago) Kasus Dewi Perrsik dirancang seperti Inul babak kedua. 4) The boycott has not been undertaken yet by the Mayor. It is still the plan. Kepada tim silet, wali kota Tangerang mengaku hingga saat ini belum melakukan pencekalan terhadap Dewi Perssik, tetapi hanya menghimbau agar para pedangdut yang akan tampil di Tangerang memperhatikan gaya busana dan aksi panggungnya agar tidak kebablasan. (To Silet team, the Mayor admits, until now, he has not carried out the boycott yet, but just give the suggestion to dangdut singers who will perform in Tangerang to pay attention to their clothes and performing on stage, not to be out of rules) 1) Dewi gives strong response Pernyataan wali kota yang menyoal gaya busana dan aksi panggung Dewi Perssik bersama sejumlah penyanyi dangdut, selain memicu tanggapan keras dari Dewi serta menimbulkan keresahan di hati penyanyi berusia 22 tahun itu (The statement of the mayor about the clothes and stage performance of Dewi Perssik and some other dangdut singers causes strong response from Dewi and also causes restless in her heart) 2) Dewi Perssik feels regretful Sebelumnya Dewi sempat kecewa dengan wacana pencekalan dirinya yang digulirkan sang wali kota karena diduga membunuh karakter Dewi dalam berkarir di panggung dangdut (Before, Dewi feels regret with the discourse of boycott toward her,

Dan kini giliran Dewi Perssik yang menjadi sorotan (and now, its the turn of Dewi Perssik to be the center of attention)

1) Dewi Perssik is furious and she wont ask for apologize Dewi Perssik masih berselimutkan amarah (Anger covers Dewi Perssik) Setitik pun Dewi Perssik tak ingin undur langkah (Dewi does not want to step back, even for a little bit) Dewi Perssik kian membara. Kata-kata pedas dia lontarkan (Dewi Perssik is getting furious. Hurting words she speaks up) Kata maaf seperti yang pernah terlontar dari Inul dan Uut Pantang terucap dari bibirnya (The word apology as stated by Inul and Uut will not come out from her mouth)

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The Mayor Tangerang

of

undertaken by the Mayor, because t is assumed to kill the character of Dewi Perssik in her career in dangdut) 3) Dewi meets ustad Yusuf Mansur to have selfcorrection Kisruh pencekalan itu menggerogoti kesenangan Dewi Perssik sehingga senin kemarin Dewi secara khusus mendatangi ustad Yusuf Mansur (The boycott has lost Dewi Perssiks pleasure so that last Monday, Dewi, specially, visits ustad Yusuf Mansur) 4) Dewi sends somasi to the Mayor Bahkan pihak kuasa hukum Dewi kini melayangkan somasi kepada pihak wali kota (Even, the lawyer of Dewi Perssik now sends letter of somation to the Mayor) 1) The Mayor forgives Dewi Perssik and even prays for her Di tengah tingginya tensi kekisruhan, selepas pertemuan Dewi dan ustad Yusuf Mansur tadi malam, secara mengagetkan pihak wali kota melalui humasnya, wali kota Tangerang, H Saiful Rahman menyatakan memaafkan bahkan mendoakan Dewi Perssik. (In the high tension of the conflict, after the meeting between Dewi and ustad Yusuf Mansur last night, surprisingly, the Mayor, through his public relation staff, the Mayor of Tangerang, H Saiful Rahman, states that he has already forgive Dewi Perssik and even prayed for her) 2) There is a hidden meaning behind the apology given by the mayor

No explanation on the response of the Mayor

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Kasus rencana pencekalan terhadap Dewi Perssik kuat diduga terlanjur dipolitisir oleh pihakpihak tertentu. Orasi yang dilakukan di hadapan warga Tangerang yang menyinggung gaya busana dan goyangan sejumlah penyanyi diduga sebagai sarana kampanye terselubung (Oration done in front of citizen of Tangerang about the clothes and the shakes of some dangdut singers is firmly predicted as illegal campaign)

To see the ideology of each infotainment program, it is important to find the differences in advance. According to the table above, the differences in broadcasting the gossip of Dewi Perssik between Insert Investigasi and silet are: 1) In Silet, Dewi Perssik is portrayed as one of the mascots in dangdut. On the contrary, in Insert Investigasi, Dewi Perssik is depicted as one of the rebellious singer in dangdut and she should make self-correction. 2) In Silet, it is predicted that the mayor of Tangerang has hidden intention in his action to boycott Dewi Perssik. In Insert investigasi, this prediction comes out from Dewi Perssik herself, not form the newsmaker. The newsmaker only reports the talk of Dewi Perssik. 3) In Silet, it is, in advance, said that the conflict is crucial problem for Dewi Perssik since it is able to affect Dewis life and career. In addition, it is told that the conflict between Dewi Perssik and the Mayor is a law matter. In

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addition, Silet often uses the word pencekalan (boycott) to describe the tension of the conflict, though the boycott is still debatable. Meanwhile, in Insert Investigasi, the conflict is described as another storm in Dewis life, after encountering many storms before. Moreover, it is also portrayed as the wound of dangdut, beside the wound made by Inul Daratista five years ago. Besides, Insert Investigasi rarely uses the word pencekalan (boycott); rather it merely uses pertikaian or perseteruan (conflict). 4) In Silet, the response given by Dewi Perssik to the case is strong response. There is no detail information on what is meant by strong response. Besides, Dewi feels regret toward the planning of boycott to her. So that, she meets ustad Yusuf Mansur to ask for suggestion. Also, in Silet, it is said that the Mayor gives apologize and prays for Dewi Perssik although it is assumed to have certain intention. While in Insert Investigasi, it is described that Dewi Perssik is furious and she will not ask for apologize. But, there is no information of the response of the Mayor toward the conflict. Besides, there are some similarities between Insert Investigasi and Silet in broadcasting the gossip of Dewi Perssik. Those are: 1) The boycott done by the chief will be carried out if Dewi Perssik still performs her sexy dance with very sexy clothes.

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2) The conflict between Dewi Perssik and the mayor of Tangerang is associated with the conflict between Inul Daratista and Rhoma Irama five years ago. It is described as the second episode of Inuls case. Based on the differences and similarities above, it can be concluded that the representation of people or events in the gossip are as below Table 14 the Representation in Insert Investigasi and Silet Insert Investigasi Silet Dewi Persik is one of rebellious Dewi Perssik is one of the mascots in singers in dangdut There is hidden intention dangdut in There is hidden intention of the Mayor

creating the conflict done by the in forgiving Dewi Perssik Mayor The conflict between Dewi Perssik The conflict between Dewi Perssik and and the Mayor has made wound the Mayor of Tangerang is a law case for dangdut The conflict between Dewi Perssik and the Mayor is the 2nd episode of Inuls case against Rhoma Irama In these two infotainment programs, Insert Investigasi and Silet, it has already proven that the same event can generate two rather different stories. Besides, there is also a different in two infotainment programs interpretation of what this event (the case of Dewi Perssik) means. For Insert Investigasi, the event (the conflict between Dewi Perssik and the Mayor of Tangerang) is the shake of dangdut music. Meanwhile, for Silet, the event is depicted as a law case, which it means it has

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become serious matter. These two representations reveal the two different ideological stances taken by those two infotainment programs. Insert Investigasis perspective is against Dewi Perssik, hence, the construction of the gossip leads the viewers to blame Dewi Perssik. On the opposite, in Silet, the construction of the gossip does not directly focus on Dewi Perssiks mistake; rather it elaborates the event (the conflict) from both sides, Dewi Perssiks side and the Mayors side. Hence, it can be said that Silet looks at the case in a wiser way.

4.2.4 Socio-cultural Practice In this stage of analysis, there will be the elaboration of three aspects; situational, institutional, and social. The analysis of those three levels are carried out in order to find what are the power and what are the relationships between language

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and power, power and ideology, and among language, power and ideology. Before going further, there will be the highlight of this stage in advance described by the figure below

Socio-cultural practice

Situational

Institutional

Social

Porno-action Regional election Power?

Advertisement Rating Media profile Power?

Eastern culture, Islamic values Power?

Relationship of language, power and ideology Figure 2 Socio-cultural practice

In this stage, it will involve two questions to answer to investigate the relationship of language, power and ideology. The two questions are: 1) What power relation at situational, institutional and social level help shaping the texts?

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2) How does the power at situational, institutional and social level influence the language and ideology of Insert Investigasi and Silet infotainment program? Below are the descriptions of the socio-cultural level of analysis: 1. Situational This level will explain about the situation when the text is produced. The texts about the boycott of Dewi Perssik are constructed in two circumstances. The first one is, the texts are produced (the boycott) when there will be the next mayor election in Tangerang. It is known that the mayor, H Wahidin Halim, will also follow the next election. Based on www.harianumumpelita.com, the election will be held on October 26, 2008. Meanwhile the registration of the mayor begins on August. It has been known from www.harian umumpelita.com, the mayor will participate in the election for the next period. Therefore, as long as he rules, he must create good impression to attract peoples sympathy to vote him. There is an assumption that, instead of building new schools for poor people or providing food and money for the victims of disaster that will cost a lot of money, it is cheaper to be popular by making certain policy, such as boycott. The boycott of Dewi Perssik itself is done in the last week of March. Besides, before doing boycott to Dewi Perssik, the mayor also gave message about HIV AIDS. From www.aids-ina.org, it is found that the message is jangan hancurkan masa

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depanmu dengan HIV dan AIDS (dont destruct your future with HIV and AIDS), and behind the banner, there is the picture of the mayor smiling. But, unfortunately, the boycott to Dewi Perssik is not followed by legal policy, only the statement in media. According to Manurung in www.kabarindonesia.com, if there is no legal policy on the boycott, it is firmly predicted that the action is only to make people impressed. Instead of build new schools, solve the poverty, or prevent disaster which will cost a lot of money, it is better for the ruling class to make the sensation to be popular. The second situation is, when the text produced, government attempts to weaken the effect of pornography and porno-action through many policies, like RUU Anti Pornografi dan Pornoaksi released in 2006. Recently, government also conducts a policy to boycott porn sites by blocking the presence of porn sites in public internet cafes. But, the progress of the policy itself is not really known since it is not in good control. Those situations explained above how the situations are able to influence the production of the texts. The picture is as below

Mayor election in Tangerang

The text about the boycott toward Dewi Perssik

Government effort to fight pornography and pornoaction

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Figure 3 Production of text 2. Institutional In this part, there will be the elaboration of advertisement, rating and television station, based on Wirodono (2006:90), to reveal the power relation between them in shaping the texts. The explanation will focus on advertisement, rating, television station and viewers of television. Advertisement has developed very fast and the media to advertise, one of them and the most favorite one is television since it has wide coverage and fast exposure. The development of the advertisement is associated with the development of the media itself, especially television. If in 1990s, there are only few television stations, but nowadays, there are oodles of television stations, national or local. This causes advertisement industry has to buy more media to promote their advertisement. It means there is competition among television stations to obtain as much advertisement as they can. The desire to get much advertisement become increasing and complicated since television station can only earn income from advertisement. There is supply from

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advertisement industry and on the contrary, there is demand from television station. This relationship (supply demand) need to be bridged by mediator institution named rating. Rating is a system used to count the amount of the viewer in television programs. Thus, rating has nothing to do with quality, it is only about quantity. So, when a certain program is broadcast, there will be two possibilities. The first possibility, the program will get high rating and therefore will gain many advertisements. Unfortunately, the second possibility, the program only gets low rating and gains few advertisements. Meanwhile the program only earns money from advertisement. So, it is firmly predicted that the program will broadcast some sorts of anything that can attract viewer to get high rating. Presumably, the producer will not concern anymore on the content (quality) as long as it is able to raise the rating. So, advertisement holds the strong power in determining which media will be the partner and rating holds the power in showing which media has the biggest viewer so that advertisement industry can map their marketing strategy (promote in most watched program).

The simple portrayal as in the figure below

Advertisement

Television

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Supply

Rating Figure 4 supply and demand

Demand

The relationship is mediated by the occurrence of rating. So that, simply to say, the program with high rating will gain many advertisements and vice versa, the program with low rating will gain few advertisement. There are some exceptions in fact due to some unique conditions that are dependent and irrelevant. Going back to rating, it is a system to count the number of people who watch certain program. Hence, by understanding this statement, people hold crucial role to determine rating level. The more people watch the program, the higher rating is obtained by the program. So that, viewer is the most powerful system in the world of media. Viewers are powerful enough to decide which program to watch and how long. There is a relationship among television station, advertisement, rating and viewer. The relationship is depicted as below

Television station

Advertisement

Rating

Viewer (public)

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Figure 5 the relationship of TV station, advertisement, rating and viewer

The relationship among the viewer with television station and advertisement is described in dashed line because it is imaginary relationship. The viewers are represented in number by rating system. The relationship between viewers and TV station and advertisement is never maintained. They merely rely on the number presented by rating system. They never create their own relationships with the viewer. The system is also applied in infotainment program, Insert Investigasi and Silet. As one of television programs, it also needs advertisement too keep alive. Thus, those programs also involve in the competition of getting as much advertisements as they can. This competition will make the producers focus on how they get high rating for their program. it means, how to attract the viewers to watch their programs. The programs will display the most attractive content, regardless its quality. It is necessary to be underlined that the power is on viewers hand. Therefore, viewers, again, can choose the program that attracts them the most. Silet and Insert broadcast the same gossip but, probably, they have different rating. It is because the number of viewers

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between those two programs is also different. Once more, it is crucial to remember that the more attractive the program, the more viewers they have. Perhaps Silet has more attractive content, present more recent information and use more understandable language so that Silet is successful enough to get many viewers into become the most favorite infotainment program in Panasonic Award 2007. In broadcasting the gossip of Dewi Perssik, Silet provides more recent information, more understandable language and more attractive content. It can be seen by the dictions used and the content presented. Regardless the time of broadcasting, Insert present the gossip in more complicated language by using many hyperbole dictions to exaggerate the news or gossip. 3. Social This stage will cover the elaboration on these two sub-discussions; eastern culture and Islamic values. It is to find the perspective of the viewers so that those perspectives will form the understanding of the viewers in consuming the text. The elaboration is as follow: 1) Eastern culture The sort of culture people tend to be nowadays is so called western culture. For instance, what people see on MTV or western movies are the portrayal of western culture. The main principle is freedom, the freedom of expression, the freedom of life. Nobody can disturb others life and no

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one is able to deny others opinion. There is good side for it will make someone put respect to others. However, the bad impacts are also presence. People will not realize what good is and what bad is since there is no particular rules of it. On the contrary, Indonesian people live in a place which holds the heritage value from the ancestors. The values are named eastern culture. This is an opposite from western culture due to its norms, rules and values as easterner. Indeed there is no written rule to obey by people but people themselves have created values, rules and norms as part of their perspectives in life. Put an example, women should wear proper clothes. What is meant by proper clothes itself is still confusing. It is relative, depends on each individual, what proper means to them. But, in eastern culture perspective, proper is linked to clothes which cover the intimate parts of womens body and also the clothes keep avoiding people from desire. Actually, there is no such rule but it is indeed exist. Indonesian people, as part of the easterners, are inevitably also the part of this perspective. Even, Indonesian people are extremely affected by Islamic values, which will be explained further in the following discussion. Indonesian people, for instance, think of improper clothes as breaking the values of the real easterner. Another example, hot woman pose in male magazine is also part of breaking the rules, values and norms of the society because it does not fit the perspectives of the society

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(easterner). Pornography and porno-action have their own places in peoples comprehension. People deny their coming, because, again, it does not suitable with the values, rules and norms of eastern culture. They begin to appear in Indonesia for it gets affected from westernization. What people called westernization is the change of value from one perspective into another perspective, in this case, from the perspective of easterner to the perspective of westerner. Even though the influence is getting intense, however eastern perspectives already place the deepest part of peoples understanding. Hence, such change does not make the values and so forth disappear. As can be seen in daily life, people with sexy clothes in public place will get weird looks from others. Though, slowly but sure, westernization will impact and influence peoples perspective. It can be seen from the television programs recently, especially Sinetron and infotainment program. Those programs show different life style with common people and it can cause gap. It is because the things being displayed are in the world of public figures and the viewers are, mostly, common people. These differences are westernized so that common people also have public figures life style. Related to the case of Dewi Perssik to the eastern culture, the sexy dance and clothes of Dewi Perssik definitely do not reflect the easterner with eastern culture. It is already westernized. The sexy clothes she wears, the dance she performs, are all westernized. Thus, it is normal to see the mayor of Tangerang boycott her

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performance. The Mayor respects the value of eastern culture, as the heritage culture, so that he acts that way. 2) Islamic values It is widely known that Indonesia is one of the biggest Moslem countries in the world. So it is not strange to see peoples life is much affected by Islamic values. Indeed, again, there is no written rule of it but peoples mind set is already Islamic. Even though today the Islamic values are no longer held tight by the society but still the values are the root of everydays life. Indonesia is not an Islamic country but Islam is the major religion in Indonesia. And religion can be said as part of culture, therefore, it is unavoidable that the values of the culture are influenced by Islamic values. The Islamic values are, for instances, wearing veil for woman, doing good thing, eating halal food, and helping the orphans. For women, it is an obligation in Islam to wear veil and cover the body (aurat) except palms and face. Though, this obligation is not obeyed by all women in Indonesia but this sort of image becomes the basic perspective of good woman for our society. Related to the case of Dewi Perssik, since she is not wearing veil and not covering her aurat, it leads to a certain perspective about her. The most possible perspective is that she is not categorized as a good woman, concerning the Islamic values. This perspective establishes an

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opinion about her in society. The perspective and opinion is able to affect people in consuming the texts about her. If, before watching the infotainment program, people already have certain perspective and opinion toward Dewi Perssik, it is possible that those things will influence peoples understanding of the discourse (the gossip of Dewi Perssik in infotainment program). Besides, it will able to lead the news into certain perspective since the newsmaker is also human beings and they also have their own perspective in certain thing. The newsmakers who have certain perspectives about Dewi Perssik tend to write the news into those perspectives. It considers the statement that discourses are never neutral. So that, the power relation of this stage (social) is the value of the society. The value is associated with the culture.

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4.3 Discussion In accordance with the problems raised, this part will cover four points, the ideology of Insert Investigasi and the ideology of Silet in broadcasting the gossip of Dewi Perssik, and the relationship of languge, power and ideology in Insert Investigasi and Silet infotainment programs. The Relationship of Language, Power and Ideology Language is used in daily life by people to communicate with others. This daily communication has addressee and addresser. However, language in media, in this discussion is television, is quite different with the language in daily communication. It is because the addressee and addresser of television separated by distance. This distance leads to what so called power. According to Thornborrow (2005; 58), one of the most important and interesting aspects of the potential power of the media from a linguistic point of view is the way the people and events get reported. Those representations lead to different versions, or views, of the same event. While, the program of television has its own perspective (ideology), and since there is power, so that television is able to carry out the spread of certain way of thinking to its viewers. The relationship of language, power and ideology can be pictured as below

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Language Power

Text

Ideology Figure 6 the relationship of language, power and ideology

After taking a look to the figure above, it can be seen that the relationships among language, power and ideology are relevant and connected to each other in shaping certain text. Language will reflect the ideology of the writer and vice versa the ideology can be figured out from its language. In addition, the language (language in media), as explained above, has imbalanced relationship since the addressee and the addresser is separated by distance. This distance leads to power. So, language can be powerful. On the other hand, power can affect language as well. Besides, another relationship is between ideology and power. This relationship can be found by considering that who has power is able to spread the ideology. Those three elements; language, power, and ideology, assist to shape certain text into certain perspective according to the ideology (discourse is never neutral). Then, in this research, there are two texts (discourses) of the gossip of Dewi Perssik. The question arises: how are language, power and ideology related to each other? To answer such question, it needs the language analysis which has

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been conducted in the part of analysis. Afterwards, it is crucial to undertake the social analysis to figure out that the text is a part of social struggle. The language analysis and the socio-cultural analysis are combined to find out the ideology and power behind the texts. In this part, it is going to analyze further on the relationship between those three elements. Since each element has been found, it merely elaborates the elements and their relations. As previously mentioned, the text being analyzed is the discourses of Dewi Perssik. It is already known that the ideology of Insert Investigasi is different from the ideology of Silet in broadcasting the gossip of Dewi Perssik. Insert Investigasi, as can be read in table of comparison, depict Dewi Perssik as the rebellious singer and the conflict is described as the wound for dangdut. Different from Insert Investigasi, Silet portrays Dewi Perssik as the mascot of dangdut. When someone is called as mascot, it means that person is already achieves certain position in the field. So that Dewi is described as the singer who is successful nowadays. The ideology is reflected by language. Language serves as the tool to deliver certain messages (ideology). Therefore, the relationship between language and ideology is independent. Through language, the writer wants to lead the viewer into certain perspective (ideology) of Dewi Perssik. Meanwhile, according to the figure above, there is also relation between language and power. This relation is formed by the imbalanced relationship occurred in media language. Language in media, in this case is television, has

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distance between the addressee and the addresser, in which this imbalanced condition leads to the ability of language in displaying certain message. Since the addresser can only receive and the addressee can always give or produce message, this condition may make the language become powerful. So, in this research, infotainment programs (Silet and Insert Investigasi) produces or displays certain messages (the gossip of Dewi Perssik which leads to certain perspective) and the viewer, as the receiver, can only accept what is being broadcast and may be affected by the message being displayed. As in Silet, Dewi Perssik is depicted as the mascot of dangdut, this information will be sent to the viewer and the viewer, inevitably, will receive this message and it may influence the perspective of the viewer. Besides, there is relationship between ideology and power. By having power, a message containing preferred meaning can be displayed, spread, or broadcast to the viewers. By having power, the ideology can be displayed (through the use of language elements). Thus, the relation here can not be separated. By having power to produce, display or broadcast messages, infotainment programs (Silet and Insert Investigasi) are able to spread the ideology. In addition, language, power and ideology itself are able to shape the text being displayed or broadcast. The use of language elements such as metaphor, diction, cohesive devices and sentence structure in Silet and Insert Investigasi form the text into certain perspectives (ideology). These perspectives can be displayed to the viewer because there is power. Moreover, the power in this

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relationship is not limited to the power of media, but there also some other power. They are:

1) The power of the situational level of the text; The texts are produced when there are Mayor election in Tangerang Governments efforts to fight pornography and porno-action

2) The power of institutional level; that is, the viewer as the determiner which program will have high rating. By gaining high rating, the program will be able to get many advertisements so that the program can survive. Therefore, the program has to make attractive content to attract the viewers. Silet and Insert Investigasi have to make the gossip of Dewi Perssik as attractive as they can to obtain as many viewers as possible. It is possible that the attractiveness of the gossip may be in the form of exaggeration of the gossip itself. It can be seen, again, by the use of some dictions in Insert Investigasi which are hyperbolic. 3) The power of the values in our society. As part of easterner, Indonesian people have certain perspective of what is good and bad influenced by the culture and also religion (Islam), as part of culture. People have already seen Dewi Perssik before and keep their

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perspectives of her in mind. This may cause to lead the production of the text containing those perspectives.

The different representation between Insert Investigasi and Silet also lead to different perspective of the viewer due to the power of media in define the world. The producer of Insert Investigasi and Silet do not adapt the text they produced with the viewers since the viewers are mass audiences in which it is possible to know who the viewers are. Therefore, the producers (the teamwork of the production of the gossip) let the gossip adapt to its diverse section. In Insert Investigasi, the representation leads to the perspective (ideology) to against Dewi Perssik, while in Silet, the representation leads to the perspective of pro to Dewi Perssik. To get better comprehension, below is the picture of those relationships:

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The relationship of language, power and ideology in Insert Investigasi and Silet (figure 7) Power

Situations

Power of Viewers

Eastern culture

Mayor election in Tangerang

Government efforts to fight pornography and porno-action

Rating

Islamic values

Advertisement

Programs effort (including the content)

TEXT ABOUT BOYCOTT TOWARD DEWI PERSSIK

Language

Language Features; Diction, Metaphor, Cohesive Devices, Sentence structure

IDEOLOGY

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CHAPTER V CONCLUSION AND SUGGESTION This chapter presents some conclusions dealing with the analysis discussed in chapter IV. This chapter also recommends some suggestions that can be used for the competent parties. 5.1 Conclusion From the critical discourse analysis on the gossip of Dewi Perssik by using the approach of Norman Fairclough, it can be concluded that, in Insert investigasi, the ideology in broadcasting the gossip of Dewi Perssik is that Dewi Perssik is depicted as the rebellious singer in dangdut and the conflict already become a law case. Besides, there is hidden intention of the action done by the mayor of Tangerang (the action of making the statement about Dewi Pessik). Insert investigasi seems to bring the case by blaming Dewi Perssik as she is the one to blame. Even, the act of Dewi accuses the Mayor as the act to gain popularity is stated with the phrase lebih parah lagi (even worse). The ideology of the gossip of Dewi Perssik in Insert investigasi is that Dewi Perssik is to blame and the act of the Mayor is already correct. On the other hand, in Silet, Dewi Perssik is portrayed as the mascot of dangdut. While the term mascot used to refer to someone who really symbolizes certain field. It means Dewi Perssik, in Silet, is depicted as someone who symbolizes dangdut. In addition, in Silet, the conflict is mentioned as the wound for dangdut. It can be meant that the conflict gives bad impression to dangdut. Here, there is also hidden intention, but the hidden intention is directly described by the narrator, not by

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Dewi Perssik, so that the writer or the producer of the text has his own perspective that there is hidden intention of the act done by the mayor. The ideology of the gossip of Dewi Perssik in Silet is, as an ordinary human being, Dewi Perssik also makes mistake for nobody is perfect. Eventually, the Mayor is portrayed as, also, an ordinary human being. Thus Dewi Perssik is not the one to blame. There is one similar perspective between Insert Investigasi and Silet in broadcasting the gossip of Dewi Perssik, that is, the conflict between Dewi Perssik and the mayor of Tangerang is depicted as the continuation of Inuls case against Rhoma Irama. It is described as the 2nd episode of the controversy between Inul and the king of dangdut. This perspective can be the same since the background of the conflict is almost the same. There is the cause (sexy shakes), the person who concerns to the sexy shake and the situation which encourage the boycott to happen. The situation, here, refers to the situation recently when the text is produced. The atmosphere of fighting against pornography and porno-action in Indonesia makes the boycott possible. Though, further legal policy is still unknown. Regarding the presence of ideology, there is also a relationship between language and ideology and any other relationships that influence the production or the perspective of the text. Language through its language features are able to reveal what behind the texts are. By analyzing, for instance, metaphor, one can find out where the text will bring him, considering that every discourse is never neutral. Then, there are other relationships such as, the relationship of language and power, and power and ideology. The relationship between language and power is constructed by the

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imbalanced relationship between the addressee and the addresser of the television program. The producer, helped by the professional team, can produce certain program and send it to the viewer. On the contrary viewer merely can watch the program being broadcast. It is imbalanced since the producer will continuously produce program, meanwhile the viewer just accepts the program. Moreover, the programs are the result of work team of professional teams. But, the viewer of television program is only individual humankind. This imbalanced may provide room for the sending of preferred meaning in the message. All in all, a text should not be considered as merely a text because the text is the result of professional work team. Besides, there is power which affects, more or less, to the production of the text, where will the text lead us? One should be aware that text is a part of social struggle. It is formed by the condition of the society, the common perspective in society and the values occurring in society. This has nothing to do between language and power, language and ideology, and also power and ideology. By using the approach of Norman Fairclough, this study is conducted and by using that approach, the researcher attempts to find the struggle behind the text. Thus, the researcher is able to reveal the relationship of language, power and ideology in Insert Investigasi and Silet Infotainment program.

5.2 Suggestion Through this study, the researcher will recommend some suggestions to the following parties

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1. The next researcher Based on the result of the study, the production of text is influenced by many factors, internal (the writer, the producer) or external (social factors). This is what so called power. Through power, certain group of people can deliver certain meaning of messages. Since those groups have power which leads to access to media. Hence, after accomplishing this study, the researcher would like to suggest the next researcher to do further analysis on media by using critical discourse analysis of Norman Fairclough or other approaches. The researcher also recommends the next researcher to involve the discursive practice analysis, in which it will analyze the process of production and interpretation of the text, to make the study more objective and comprehensive. 2. Infotainment programs Through this research, the researcher would like to give sincere recommendation to the infotainment program to conduct self-evaluation on the gossips they broadcast since the gossips may contain subjectivity and lead to certain perspective. 3. The society

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This study can prove scientifically that a text should not be considered as merely a text. Text tends to lead the perspective into the perspective of the writer or producer. Besides, there are many external factors (social) that affect the ideology (perspective) of certain text. Thus, the researcher, through this study, suggests the viewer of television, especially infotainment, not to take the gossip directly and easily. It is because the gossip broadcast among many infotainment programs, are presented in different perspectives.

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DECLARATION OF AUTHORSHIP
Herewith I, Name NIM Address : Ikmi Nur Oktavianti : 04100330017 : Jl. Bendungan Jatiluhur 39 Malang

Declare that: 1. This sarjana thesis is the sole work of the author and has not been written in collaboration with any other person, nor does it include, without due acknowledgement, the work of any person. 2. If at a later time it is found that this sarjana thesis is a product of plagiarism, I am willing to accept any legal consequences that may be imposed upon me.

Malang, 26 August 2008 (Ikmi Nur Oktavianti) NIM 04100330017

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