KRITIK MATERIALISTIK TEKS SASTRA MAJALAH PANDJI POESTAKA (1943--1945)

<p>ABSTRAK<br /> <br />Penelitian ini bertujuan memaparkan struktur ideologi Teks Sastra dalam Majalah Pandji Poestaka pada masa<br />pendudukan Jepang di Indonesia (1943-1945). Pendekatan teori yang digunakan adalah materialisme yang<br />dipaparkan oleh Eagleton. Kritik sastra materialistik mangasumsikan bahwa teks sastra tidak bertindak pasif, tetapi<br />secara aktif menentukan proses produksi dan struktur ideologi yang membentuknya. Karya sastra merupakan produk<br />interaksi dan artikulasi aspek eksternal dan internal teks. Skema kritik sastra materialistik memosisikan aspek<br />eksternal berada di luar teks yang terdiri atas kontituen-kontituen ideologi yang meliputi: corak produksi umum,<br />ideologi umum, corak produksi sastra, ideologi kepegarangan, dan ideologi estetik. Internal teks merujuk pada<br />ideologi teks yang merupakan produk dari interaksi dan artikulasi kontituen-kontituen eksternal teks yang telah<br />dijabarkan sebelumnya dan membentuk serangkaian tegangan, pengolahan dan transformasi. Hasil Penelitian<br />ini menunjukkan bahwa teks yang berupa Teks Sastra dalam Majalah Pandji Poestaka merupakan hasil artikulasi<br />dominasi kekuasaan Jepang yang menerapkan sistem pemerintahan fasisme-militersme. Mobilization and Control <br />merupakan teknik Jepang guna mendominasi kekuatan dan relasi produksi di Indonesia. Dominasi tersebut<br />mengakibatkan tekanan dan ketimpangan dalam masyarakat, sehingga memunculkan kontestasi ideologi yang<br />diusung oleh para pejuang nasionalis, gerakan bawah tanah, hingga pemberontakan masyarakat kelas bawah yaitu<br />petani. Simpulannya pemberontakan tesebut melahirkan ideologi nasionalisme, sosialisme hingga anarkisme yang<br />memiliki cita-cita yang sama yaitu semangat kebebasan, anti imperialisme, kemerdekaan dan bayangan akan sebuah<br />bangsa (nation). <br /> <br />Kata Kunci: Struktur Ideologi, Teks Sastra Pandji Poestaka, Materialisme Eagleton.<br /> <br /> <br />ABSTRACT<br /> <br />This study describes the ideology structure of Teks Sastra in Pandji Poestaka magazine during the Japanese <br />colonial Indonesia (1943-1945). Theory applied in this study is Eagleton’s materialism. This critic concerns on how<br />a literary work acts in the process of production and in shaping the ideology structure. In this case, a literary work<br />is regarded as a product of interaction and articulation in external and internal aspects of the text. The materialism<br />critic places the external aspect outside the text, includes ideology constituents, such as general mode of production,<br />general ideology, literary mode of production, author ideology, and aesthetic ideology. Meanwhile, this critic refers<br />the internal aspect to ideology of the text. This ideology is a product of those constituents’ interaction and<br />articulation that form a sequence of exertions, accomplishment, and transformation. The result of the study<br />shows that the text Teks Sastra in Panjdi Poestaka magazine is articulation of Japanese domination that applied<br />fascism-militarism in their colonial. In order to dominate the strength and the production relation in Indonesia,<br />Japan also uses mobilization and control technic. Therefore, there is inequality in society and they are pressured.<br />This leads the society to do many kinds of struggle to fight the Japanese domination. The struggles produce the</p><p><br />ideology of nationalism, anti-imperialism. Besides, Indonesian wants to reach the Independence and to have a<br />nation.</p><p>Key Words: Structure of Ideology, Teks Sastra Pandji Poestaka, Materialism, Eagleton.</p>

Robni fetišizam, pravni fetišizam, preobraženi oblici i estetski fetišizam

In this paper, we analyse two recent contributions to the Marxist critique of the political economy of art: the article “Artistic Labor and the Production of Value: An Attempt at a Marxist Interpretation” by José María Durán and the book Art and Value: Art’s Economic Exceptionalism in Classical, Neoclassical and Marxist Economics by Dave Beech. While Durán emphasizes the emergence of the legal category of intellectual property rights as crucial for value production in art, Beech has reached the contrary conclusion that artistic labour does not produce value and that artistic production is therefore excepted from capitalist commodity production. In our paper, we criticize both conclusions. While agreeing with Beech that artistic labour does not produce value and is thus excepted from the ideology of commodity fetishism, we believe that through the ideology of converted forms it nevertheless becomes part of capitalist commodity production. We would argue that the sector of artistic production, through the converted form of monopoly rent, establishes a production relation with other, competitive, sectors of capitalist economy. This production relation is enabled by the ideology of aesthetic fetishism, supported by the ideology of legal fetishism through the category of intellectual property rights. Contrary to Durán, we thus conclude that intellectual property rights allow for a hidden transfer of surplus value produced by the workers in the competitive sectors of the capitalist economy.

Robni fetišizam, pravni fetišizam, preobraženi oblici i estetski fetišizam

In this paper, we analyse two recent contributions to the Marxist critique of the political economy of art: the article “Artistic Labor and the Production of Value: An Attempt at a Marxist Interpretation” by José María Durán and the book Art and Value: Art’s Economic Exceptionalism in Classical, Neoclassical and Marxist Economics by Dave Beech. While Durán emphasizes the emergence of the legal category of intellectual property rights as crucial for value production in art, Beech has reached the contrary conclusion that artistic labour does not produce value and that artistic production is therefore excepted from capitalist commodity production. In our paper, we criticize both conclusions. While agreeing with Beech that artistic labour does not produce value and is thus excepted from the ideology of commodity fetishism, we believe that through the ideology of converted forms it nevertheless becomes part of capitalist commodity production. We would argue that the sector of artistic production, through the converted form of monopoly rent, establishes a production relation with other, competitive, sectors of capitalist economy. This production relation is enabled by the ideology of aesthetic fetishism, supported by the ideology of legal fetishism through the category of intellectual property rights. Contrary to Durán, we thus conclude that intellectual property rights allow for a hidden transfer of surplus value produced by the workers in the competitive sectors of the capitalist economy.

MEMÓRIA E FETICHIZAÇÃO DA MERCADORIA

The questions we address here are: What is the relation betweenmemory and forgetfulness? What is the relation between a discursivememory and the fetishism of merchandise? We argue that this fetishismcan be seen in the discursive memory. However, something remainsimpossible to remember: the memory of the merchandise-form, which isthe merchandise’s production relation chain. We study these issues on twoslogans.