REPRESENTATION OF THE STORY OF KARNADI ANEMER BANGKONG AS AN IDENTITY OF THE SUNDANESE COMMUNITY

Abstract

This research discusses the forms of representation, changes in representation, and perspectives on the representation of the story of Karnadi Anemer Bangkong. This research uses a descriptive method with qualitative research techniques. The research method used is the diachronic method. The diachronic method is a literary reception study conducted on reader responses over several periods. The data sources in this study are the novel Rasiah Nu Goreng Patut and other works that tell the story of Karnadi Anemer Bangkong and other works closely related to Karnadi Anemer Bangkong from 1928 to 2017. The data is grouped based on the year of its appearance. In this case, three data points were selected: Madraji: Modern Pantun Story by Suyudi, Fiksimini Karnadi Kiwari by Tia Baratawiria, and the drama script Barok (Not Stupid But Doesn't Know Because Never) by Aan Sugiantomas. The results of the research show that the story of Rasiah Nu Garong Patut (Karnadi Anemer Bangkong) has undergone various forms of representation. These forms of representation include film and television scripts and scenarios, pantun (narrative poetry), short fiction, and drama scripts. The change in representation between Karnadi and Madraji is in form. Madraji is in the form of a narrative poem, while Karnadi is in the form of a novel. In terms of content, both tell stories about the lower class, which then reflect criticism of the poverty that existed in their respective eras. Social criticism is an important message in both works. Tia Baratawiria represents Karnadi differently from the original story. Karnadi in Tia Baratawiria's short fiction is reversed one hundred and eighty degrees. Tia positions Karnadi as a rich man, who ultimately is almost the same as the arrogant Eulis Awang family. Tia intends to convey the message that even if Karnadi were rich, his character would not change for the better. Human character and personality are influenced by wealth. Aan Sugiantomas represents the character of Barok differently from Karnadi. If Karnadi is ugly, then Barok is handsome. Barok is physically and socially different, yet still represents the lower class. Through Barok, Aan challenges the symbols of ignorance attached to Barok, who is uneducated. In terms of plot, Barok's story is similar to that of Karnadi Anemer Bangkong.