Pengguna:Crisco 1492/Belenggu: Perbedaan antara revisi

:Sumartini (abbreviated asdisingkat Tini) isadalah istri Tono's ultra-modernyang wifesangat modern. WhileWaktu inmasih universitymahasiswi, shedia wassangat verypopuler populardan andsuka enjoyed partyingberpesta. DuringPada thismasa timeitu, she lostTini hermenyerahkan virginitykeperawanannya tokepada Hartono, whichsehingga issetelah vieweddia asdiputuskan unacceptabledia inmenjadi traditionalsemakin Indonesiantidak culture;acu whenpada hekeinginan left her, she became increasingly aloof and distant from the wants of menlaki-laki. AfterSetelah being married bydinikahi Tono, sheTini feltmenjadi increasinglysemakin lonelykesepian anddan tookmulai tobergerak doingdi socialbidang worksosial tosupaya givehidupnya her life meaningberarti. AfterKetika learningmengetahui ofketidaksetiaan Tono's infidelitydan andberanggapan seeing thatbahwa Yah couldlebih takecocok betterdengan care of himsuaminya, Tini leavesmeninggalkan her husbandTono anddan movespindah toke Surabaya.{{sfn|Taum|2008|pp=142–143}}

:Menurut Yoseph Yapi Taum, aseorang lecturerdosen atdi [[Universitas Sanata Dharma University]] indi [[Yogyakarta]], viewssikap Tini'stidak aloofacu natureTini asadalah aalasan majorutama force drivingmengapa Tono tomenjadi tertarik pada Yah; hergaya lifestylehidup Tini, ofyang whichtidak memasuki Tono is not a part, alienatesmembuatnya himberasa andterasing drivesdan himmendorongnya tountuk findmencari awanita moreyang traditionallebih womantradisional.{{sfn|Taum|2008|p=142}} Tham Seong Chee, aseorang politicalkritikus scientistdari from Singapore[[Singapura]], viewsberanggapan herbahwa asTini aadalah weak-willedtokoh character,yang unwillinglemah tosebab actdia withouttidak outsidebisa interventionmengambil andkeputusan eventanpa thenpengaruh beingluar, unwillingdan tosampai workkapan outpun hertidak issuesmau withmenyelesaikan masalahnya dengan Tono. HeDia alsojuga seesmenyatakan herkalau asTini beingdibatasi fetteredoleh bynilainya her own valuessendiri, whichyang aretidak incompatiblesesuai withdengan those held bynilai-nilai themasyarakat generalIndonesia Indonesianpada populaceumumnya.{{sfn|Tham|1981|p=114}} IndonesianMenurut poetpenyair anddan literarykritikus criticsastra [[Goenawan Mohamad]], views her as being driven in part by theTini stressdidorong placedoleh onharapan hersuaminya byakan heristri husband'syang expectationstradisional.{{sfn|Mohamad 1985, Yah}}

:Rohayah (alsojuga knowndikenal bydengan thenama pseudonymssamaran Nyonya Eni anddan Siti Hayati; abbreviateddisingkat Yah) isadalah teman Tono's childhooddari friendsekolah andrakyat lover,yang askemudian menjadi simpanannya; welldia asjuga aseorang popularpenyanyi kroncongkeroncong singerterkemuka. AfterSetelah Tono, whoyang islebih threetua yearstiga her eldertahun, graduatedlulus fromdari elementarysekolah schoolRakyat, Yah wasdipaksakan forciblyuntuk marriedmenikah todengan manpria twentyyang yearslebih hertua senior20 andtahun broughtdan fromdibawa Bandung toke Palembang. AfterSetelah escapingmelarikan himdiri, sheYah returnedkembali toke Bandung; andakan foundtetapi, thatorang hertuanya parentssudah hadmeninggal. died,Dia shekemudian movedberpindah toke Batavia anddan becamemenjadi aseorang prostitute;pelacur shesekaligus alsopenyanyi becamekeroncong adengan popularnama kroncong singer under the pseudonymsamaran Siti Hayati. WhenKetika shemengetahui discovers thatbahwa Tono has becometelah amenjadi doctordokter indi Batavia, shedia pretendsmenggoda todokter be a patient and seduces him by letting her houserobe slip and revealing skinitu. Although the twoBiarpun fallmereka deeplysaling injatuh lovecinta, Yah decidesmengambil tolangkah leaveuntuk Tonopergi assebab shedia feelstakut thatTono societyakan woulddiremehkanapabila viewdia himmenikah poorlydengan ifseorang hemantan married a former prostitutepelacur. SheYah movesberpindah toke NewKaledonia CaledoniaBaru.{{sfn|Taum|2008|pp=144–146}}

''Belenggu'' usessering ellipsesmenggunakan andtanda monologues[[elipsis]] heavilydan to[[monolog]] representuntuk themencerminkan mainkonflik characters'batin internaltokoh turmoilmasing-masing, to the point thatsehingga Dutchkritikus scholarsastra ofIndonesia Indonesianberasal literatureBelanda A. Teeuw callsmenyatakan itbahwa anovel ini adalah "three-prongedmonolog interior monologuebercabang tiga".{{cref|A}}{{sfn|Teeuw|1980|p=122}} UnlikeBerbeda worksdari publishedkarya-karya yang byditerbitkan [[Balai Pustaka]], theyang state-ownedmerupakan publisherpenerbit ofmilik thenegara [[Dutch EastHindia IndiesBelanda]], ''Belenggu'' doestidak notmenjelaskan providesemua fullaspek expositioncerita; instead,hanya itaspek onlykunci explicitlydikemukakan, statesdengan keyaspek pointslain anddiisi leavessendiri theoelh rest for the reader to interpret,pembaca. leadingIni tomembuat morepembacaan activemenjadi readerlebih participationaktif.{{sfn|Siregar|1964|p=102}}

UnlikeBerbeda authorsdari ofpenulis earlier works published bynovel Balai BahasaPustaka, PaneArmijn doestidak notmenggunakan use proverbs[[peribahasa]]; hedia insteadlebih usesmenekankan similespenggunaan [[simile]]. AnotherCara waylain inyang whichmenunjukkan heperbedaan writesgaya differentlytulis thanArmijn earlierdengan writerspenulis-penulis isBalai byPustaka limitingialah hisdengan usemembatasi of thepenggunaan [[Dutchbahasa languageBelanda]] murni; earliersebelumnya writerspenulis such asseperti [[Abdul Muis]] anddan [[Sutan Takdir Alisjahbana]] usedmenggunakan thebahasa languagekolonialis ofitu theuntuk dominantmenggambarkan colonialsifat powertokoh toutama illustrateyang theintelektual. intellectualism of the main charactersSementara, while indalam ''Belenggu'' PaneArmijn reliesmenekankan onbahasa the Indonesianized loan wordsserapan, withsehingga aedisi-edisi [[glossary]]awal ofmemuat difficultdaftar oristilah uncommonyang wordsberisikan providedistilah-istilah withlangkah earlyatau editions of the novelsulit.{{sfn|Balfas|1976|p=69}}{{sfn|Siregar|1964|pp=103–104}} Siregar wrotemenulis that Pane'sbahwa languagebahasa reflectedArmijn thelebih actualmencerminkan usepenggunaan ofbahasa IndonesianIndonesia wellsehari-hari.{{sfn|Siregar|1964|pp=103–104}}

AccordingMenurut to TaumYapi, the titlejudul ''Belenggu'' reflectsmencerminkan thekonflik innerbatin conflictsyang faceddihadapi bysemua alltokoh of the main charactersutama, causingsehingga themmereka toterbatas bedalam limitedperilaku in their actionsmereka. TaumYapi pointsmenunjuk topada the climax of theklimaks novel--in whichsebagai Rohayahcontoh hasbaik theakan chanceketerbatasan to marry Sukartono but refuses because if she were to marry him he would lose face by virtue of her formerly being a prostitute--as a prime example of these limitationsitu.{{sfn|Taum|2008|p=147}} Menurut Siregar, noteshal thatini thisdidukung isoleh supporteddialog byantara dialogueSiregar betweenantara Hartono anddan Sukartono, in which they notedi thatmana humansmereka areberanggapan inherentlybahwa heldmanusia backselalu bydibelenggu theiroleh reminiscenceskenangannya ofakan themasa pastlalu.{{sfn|Siregar|1964|p=105}}

UncommonlyBerbeda fordari Indonesiankarya literaturesastra duringIndonesia thisdi timezaman perioditu pada umumnya, bab-bab ''Belenggu''{{'s}} chapters were labeled with onlyhanya adiberi numbernomo – otherkarya workslain, such as Abdul Muis' 1928 novelmisalkan ''[[Salah Asuhan]]'', gave(1928) bothkarya aAbdul numberMuis andmenggunakan subtitlenomor to thedan chaptersjudul. AccordingMenurut to TaumYapi, thisperbedaan changegaya inini stylemewakili representsaliran humanity'skesadaran streammanusia, ofberbeda consciousness,dengan ascara opposedsebelumnya toyang themenjadikan earliersetiap stylebab whichsebagai keptperistiwa chaptersyang separateterpisah.{{sfn|Taum|2008|p=138}}

Menurut Teeuw notes that, unlikeberbeda mostdari Indonesian novels atnovel-novel theIndonesia timesemasa, ''Belenggu'' didtidak notmenggunakan featuretema aprotagonis themeyang ofbaik adan goodsuci andmelawan pureantagonis protagonistyang struggling against an evil antagonist or deal withjahat, conflictatau andkonflik differencesdan betweenperbedaan differentantara generationsgenerasi.{{sfn|Teeuw|1980|p=119}} ItNovel alsoini didjuga awaytidak withmenggunakan the common themes oftema [[forcedkawin marriagepaksa]] anddan thetidak youth'sditerimanya nonacceptance of ''[[adat]]'' (traditionaloleh culture)pemuda-pemudi.{{sfn|Balfas|1976|p=69}} Instead,Novel itini showedmalah amenggunakan lovetema triangle[[cinta segitiga]] – commonyang inpada Westernsaat literatureitu butsudah unheardumum ofdi insastra IndonesianBarat literaturetapi atbelum theada timedi sastra Indonesia – without an indication of whethertanpa anymenunjukkan characterssiapa wereyang goodbaik, eviljahat, rightbenar, oratau wrongsalah. HeDia writesmenulis thatkalau thebuku novelini portrayedmenggambarkan thekonflik interiorbatin strugglesejenis ofmanusia a "new kind of human"{{cref|B}}baru, one who is the result ofyang adibentuk mixturekarena ofpersatuan Easternbudaya andTimur Westerndan culturesBarat.{{sfn|Teeuw|1980|p=119}}

TaumYapi indicatesmencatat thatbahwa ''Belenggu'' presentsmenunjukkan modernityhidup andmodern traditionalismdan astradisional asebagai [[binarysistem opposition|binary system]]berlawanan, contrastingyang thememperbandingkan hal-hal newbaru withdengan theyang oldlama. For exampleMisalkan, Sukartono, aseorang doctor dokter (consideredsimbol ahidup symbol of modernitymodern), isselalu obsessedberpikir withtentang themasa pastlalu, including his schoolmate RahayahYah, anddan preferslebih traditionalsuka kroncongmusik musictradisional overdaripada other, moreyang modern genres. ThroughLewat the contrast ofkontras Sukartono anddan hisistrinya ultra-modernTini andyang emancipatorysangat wifemodern Sumartiniitu, PaneArmijn emphasizesmenekankan thatbahwa modernitykehidupan doesmodern notbelum necessarilytentu bringmembuat happinessorang bahagia. TaumMenurut writesYapi, that''Belenggu'' thismungkin maydipengaruhi haveatau beenbahkan influencedditulis bysebagai or even written as a response to Sutan Takdir Alisjahbana's 1936tanggapan novelatas ''[[Layar Terkembang]]'' (1936), whichkarya dealt[[Sutan withTakdir aAlisjahbana]], similaryang themejuga butmempunyai wastema forini modernizationtetapi lebih pro-modern.{{sfn|Taum|2008|pp=148–150}}

Clive Christie, aseorang lecturerdosen on Southeast Asian Studies at thedi [[School of Oriental and African Studies]] indi London, notesmencatat thatbahwa ''Belenggu'' alsojuga containsmewujudkan arasa strongterasingkan senseyang of alienationkuat. HeDia writesmenulis thatbahwa thepara characterstokoh seemmenjadi toseperti part of aanggota "societymasyarakat suspendedyang inberada adalam vacuumvakum", withouttanpa anhubungan explicityang connectionjelas todengan colonialismkolonialisme buttetapi alsojuga unabletanpa topengertian comeyang tojelas termsakan withnilai-nilai traditional morestradisional. Christie describesmenjelaskan Sukartono'shubungan relationshipTono withdengan RohayahYah assebagai symbolicsimbol ofatas intellectualsorang-orang tryingintelektual toyang engageberusaha withberinteraksi thedengan massesmasyarakat throughluas amelalui sharedbudaya popular culturepopuler, buttetapi akhirnya ultimatelytidak failingberhasil.{{sfn|Christie|2001|p=69}}

''Belenggu'' wasdiserahkan submitted tokepada Balai Pustaka forpada publication intahun 1938, butuntuk was notditerbitkan, acceptedtetapi duetidak toditerima itssebab perceiveddianggap dissonanceberlawanan withdengan publicmoral moralityumum;{{sfn|Balfas|1976|p=68}} thishal wasini baseddisebabkan onpenggambaran theperselingkuhan factsebagai thathal adulteryyang wasumum, portrayedsehingga asmenjadi normalbagian inpenting thedalam novel and played a key part in the plotalur. EventuallyAkhirnya it was picked upnovel byini thediterbitkan literaryoleh magazinemajalah ''[[Poedjangga Baroe]]'', whichyang Armijn Panetelah hadbantu helpedmendirikan foundpada intahun 1933, anddan wasditerbitkan publisheddalam in abentuk serial format in three editionsdari betweenbulan April andsampai JuneJuni 1940.{{sfn|Teeuw|1980|p=119}}{{sfn|Balfas|1976|p=68}} ''Belenggu'' wasadalah the onlysatu-satunya novel publishedyang byditerbitkan themajalah magazine.sastra itu,{{sfn|Balfas|1976|p=68}} Itdan wasmerupakan thenovel firstpsikologis IndonesianIndonesia [[psychological novel]]pertama.{{sfn|Rampan|2000|p=92}}

InPada tahun 1965, ''Belenggu'' wasditerjemahkan translatedke into[[bahasa MalayMalaysia]]. BySampai pada tahun 1988, itnovel hadini beensudah translatedterjemahkan toke dalam [[bahasa Mandarin]] dan, andpada intahun 1989, itditerjemahkan waske translateddalam tobahasa EnglishInggris byoleh John McGlynn underdengan the titlejudul ''Shackles'', andlalu published by thediterbitkan [[Yayasan Lontar Foundation]].{{sfn|Mahayana|Sofyan|Dian|2007|pp=83–84}}

LaterKritik-kritik reviewsyang havelebih generallymutakhir beencendurung morelebih positivepositif. Literary documentarian [[HB Jassin]] wrotemenulis inpada tahun 1967 thatbahwa, althoughbiarpun the characters cametokoh-tokoh acrossbertindak assebagai caricatureskarikatur, ''Belenggu'' wasmampu capablemembuat ofpembaca makingtermenung readersatas stopkenyataan and think aboutsosial modern conditions.{{sfn|KS|2010|p=99}} InPada tahun 1969 the novel received an award for outstandingini literaturediberi frompenghargaan thedari Indonesianpemerintah governmentIndonesia;{{sfn|Mahayana|Sofyan|Dian|2007|p=83}} thatpada sametahun year,yang Indonesiansama, writerpenulis anddan literarykritikus criticsastra [[Ajip Rosidi]] wrotemenulis thatbahwa thebuku novelini waslebih moremenarik interestingdaripada thankarya-karya earliersebelumnya workskarena becausepenyelesaiannya itsbersifat ending was open to interpretationmulti-tafsir.{{sfn|KS|2010|p=99}} IndonesianMenurut poetpenyair anddan literarykritikus criticsastra [[Muhammad Balfas]], wroteyang inmenulis 1976pada thattahun 1976, ''Belenggu'' wasadalah "innovel everyIndonesia respectterbaik thedari best novel of pre-warsebelum Indonesianperang literaturekemerdekaan".{{sfn|Balfas|1976|p=69}} InDalam hisbukunya 1980tentang booksejarah onsastra IndonesianIndonesia literature,yang Teeuwterbit wrotepada thattahun despite1980, severalTeeuw flawsmenulis inbahwa, thebiarpun psychologicalada portrayalkekurangan ofdalam thepenggambaran mainpsikologis tokoh-tokoh charactersutama, ''Belenggu'' wasadalah the onlysatu-satunya novel fromIndonesia beforedari thesebelum [[IndonesianPerang NationalKemerdekaan RevolutionIndonesia|Perang Kemerdekaan]] inyang which a reader from thebenar-benar Westmenarik woulduntuk feelpembaca trulydari involvedBarat.{{sfn|Teeuw|1980|p=121}} Tham wrotemenulis inpada tahun 1981 that thebahwa novel wasini theadalah bestcermin reflectionterbaik ofakan thetimbulnya growingkesadaran consciousnessdalam ofmasyarakat theIndonesia Indonesianbahwa peoplenilai-nilai thatBarat Westernbertentangan valuesdengan such as individualism and intellectualism contradicted with traditionalnilai-nilai valuesTimur.{{sfn|Tham|1981|p=112}}

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|first=Goenawan

|authorlink=Goenawan Mohamad

|title=Yah

|work=Tempo

|date=20 April 1985

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|archiveurl=http://www.webcitation.org/65AT92agG

|archivedate=3 February 2012

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|first = Seong Chee

|title = Essays on Literature & Society in Southeast Asia

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|language=Inggris

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