Artikel Ilmiah Bahasa dan Sastra

Proses belajar mengajar merupakan inti dari pendidikan, dan komponennya adalah guru, siswa, media pembelajaran, dan sumber belajar. Semua komponen tersebut saling berkaitan erat, karena kelengkapan komponen tersebut menunjukkan keberhasilan pendidikan. Pendidikan memiliki pengaruh yang besar bagi kehidupan manusia. Semakin tinggi tingkat pendidikan seseorang maka semakin tinggi pula kematangan interaksi sosial, budaya dan ekonominya. Oleh karena itu, pendidikan perlu meningkatkan kualitas dan fasilitas agar dapat mencapai harapan. Banyaknya materi menyebabkan siswa tidak dapat menyerap isi yang disampaikan oleh guru dengan baik, hal ini dikarenakan guru memiliki waktu yang terbatas untuk menyampaikan materi selama proses pembelajaran. Buku teks, khususnya buku pelajaran, merupakan media pengajaran yang dominan di dalam kelas. Indikator negara maju adalah negara dengan tingkat hobi membaca yang tinggi. Bangsa yang bisa membaca adalah bangsa yang mampu berpikir dan memecahkan berbagai masalah dan tantangan zaman. Oleh karena itu, buku teks berkualitas tinggi mutlak diperlukan. Penelitian ini mengacu pada empat rumusan masalah antaralain a. bagaimana kelayakan isi yang terdapat dalam buku ajar bahasa indonesia Wahana Pengetahuan SMP kelas VII cetakan-1?; b. bagaimana kelayakan penyajian yang terdapat dalam  buku ajar bahasa indonesia Wahana Pengetahuan SMP kelas VII cetakan-1?; c. bagaimana bahasa, keterbacaan, dan grafika dalam buku ajar bahasa indonesia Wahana Pengetahuan SMP kelas VII cetakan-1?; dan d. bagaimana Latihan dan soal dalam buku nuhnya memenuhi keseluruhan kriteria baik pada setiap komponen/subkomponen.

Kata Kunci: Belajar, Buku teks, Wahana Pengetahuan, SMP Kelas VII

A. PENDAHULUAN Sejak abad sebelum masehi, Aristoteles telah menggunakan pendekatan kejiwaan untuk menerapkan batasan klasik tentang timbulnya tragedi yang dikombinasikan dengan rasa belas kasih dan rasa ketakutan yang mengakibatkan kataris (Guerin et al.,1979:121 dalam buku Psikologi sastra). Sir Plilip Sydney pernah mengatakan bahwa efek moral sebuah karya sastra adalah sastra psikologis. Pada abad ke-20 teori sastra dilanda perkembangan yang sangat pesat, berbagai teori bermunculan baik dari jalur strukturalisme, semiotik, sosiologi sastra, psikoanalisis, dan lainnya (Zaimar,2003:29). Pada dasarnya psikologi sastra atas dasar asumsi-asumsi genesis dalam kaitannya dengan asal-usul karya, artinya psikologi sastra dianalisis dalam kaitannya dengan aspek-aspek kejiwaan pengarang. Terdapat beberapa pandangan yang menyatakan perkembangan psikologi sastra agak lamban dikarenakan beberapa sebab, penyebabnya antara lain: pertama, psikologi sastra seolah-olah hanya berkaitan dengan manusia sebagai individu, kurang memberikan peranan terhadap subjek transindividual, sehingga analisis dianggap sempit. Kedua, dikaitkan dengan tradisi intelektual teori-teori psikologi sangatlah terbatas sehingga membuat psikologi sastra kurang diminati untuk diteliti (Ratna,2003:341). Kendala yang juga menghambat perkembangan psikologi sastra adalah antusiasme yang berlebihan ketika meneliti menerapkan pendekatan ini, artinya pembahasan terlalu terfokus pada segi psikologi, sedangkan hakikat sastra kerap kali ditinggalkan. Kendala lainnya adalah kurangnya memahami konsep-konsep psikologi yang harus digunakan dalam telaah sastra. Oleh karena

This article examines three works by AA Navis, one of Indonesia's most famous authors. The three works discussed are short stories of "Coming and Going", "The Ravages of Our Surau", and the novel of Kemarau. The approach used is intertextual. The basic principle of this approach is inter-textual relationships; because the text (literature) can never stand alone (alone) but always related to other texts (plural).

This research aims to understand the characteristics of Budi Darma's Olenka novel by using dialogical review. The understanding of the novel characteristic begins with the existence of reality in the Olenka which has many elements reflecting a behavior called carnival. Carnival is a behavior that signs a novel with polyphonic nature. The basic characteristic of being polyphonic is dialogical. To understand the characteristics of Olenka novel (the carnival, poly-phonic, and dialogic), therefore, it required dialogical analysis. The theoretical framework used in this research is dialogical theory given by Bakhtin. Based on this theory, the analysis is focused on three aspects, i.e., carnivalization and composition, the character and position of the author, and the representation of ideas. Because the dialogical nature of a polyphonic novel which however unites "heteroglosia" (various text, language, or genre) within itself, other aspect which should be analyzed is the relation of Olenka to other united texts. Based upon analysis several results are explained as follows. As a literary work, Olenka can be classified into a carnivalized literature being inclined to be polyphonic and dialogical. The polyphonic and dialogical natures of Olenka are particularly shown by its composition as like found in music one. If the music is composed of counterpoint and modulation, the Olenka composition is constructed with syncrisis and anacrisis. As found in counterpoint case in music, syncrisis is a blend of two or more different, sounds in the same appearance, meanwhile anacrisis is an element which motivates the creation of modulation, that is transitional process from one syncrisis to another in a text. Some syncrisis which build a plot are not established by the cause and effect relation, but by the contrapuntal one., The polyphonic and dialogical natures of Olenka are also particularly shown by intercharacters relation. The relation is not established by event, situation, or direct dialog, but by consciousness. The consciousness meansthat one character may come into other character's consciousness, and vice versa. But, in Olenka novel the author occupies an ambivalent position. The author may come into the character's consciousness, but he still keeps distance, the relation between the author and the character happens by means of a dialogical. Nevertheless, beyond the artistic text, the author explains anything about the character at all, their relation then is transformed into a monological. The similar things are also found in the form of representation of ideas and intertextual dialog. In fiction context (part I -V), the author can converse many other ideas that become object representation. But, all of the ideas eventually unite into the author's ideas because the author "forces" the character to accept all of the author's ideas as been shown by the explanation outside of the text (part VI- VII). The polyphonic and dialogical natures of Olenka, therefore, only achieves a certain level; in the sense that the characteristic of Budi Darma's novel is not equal to that of Dostoevsky's novels, the works in regard of the "final development" of polyphonic novel genre. Finally, it can comprehensively be concluded that a variety of carnival elements which carnivalizes the Olenka, in fact, does not claim itself as completely polyphonic and dialogical in nature.. The polyphonic and dialogical natures of Olenka are only limited to par-titular parts (I - V) implementing a construction of fiction world. If other part (VI - VII) in form of nonfiction is combined with, the polyphonic and dialogical natures of the novel move into monophonic and monological. Consequently, the Olenka novel only sounds a single voice, that is the voice of the author.