Kajian bandingan novel intertekstual Melayu = (Comparative studies in Malay intertextual novels)
Authors:   , Safei Mawar 
Published: November 2024

Kajian ini menumpukan pemerhatian terhadap wjudnya 'hubungan dan proses antara teks' dalam penghasilan novel Melayu. Dasar hubungan ini dikesani dalam tradisi kesusasteraan Melayu seperti lipurlara, penulisan manuskrip dan seterusnya dalam penulisan prosa moden seperti novel. Kecenderungan hubungan ini dikaitkan dengan 'intedekstualiti' iaitu fenomena kewujudan 'teks dalam sesebuah teks' atau 'dialog antara teks'. Intertekstualiti pertama kali diajukan Julia Kristeva bertolak dari dialogik Mikhail Mikhalovich Bakhtin dan sistem tanda Ferdinand de Saussure yang kemudian diperhalusi beberapa sajana seperti Roland Barthes, Gerard Genette, Michael ' Riffaterre dan Harold Bloom.

Beberapa rumus intertekstual dikemukakan berdasarkan dua kecenderungan tersebut serta senarai penghasilan novel Melayu tiga negara iaitu Malaysia, Indonesia dan Singapura yang menyokong hubungan berkenaan. Rumus intertekstual itu membentangkan hubungan antara hipoteks (teks awal) dengan hiperteks (teks terkini); melihat proses, makna yang diajukan dan kewajaran ia dilakukan. Empat rumus yang dikemukakan adalah hipoteks terdiri daripada (i) teks tradisional (ii) teks pengarang sendiri, (iii) teks pengarang lain, dan (iv) teks bukan kreatif. Rumus-rumus ini digunakan dalam beberapa contoh 'pengarang umum' dan 'tiga pengarang pilihan' untuk setiap negara kajian. Pemilihan para pengarang ini ialah terhadap ketekalan yang diperagakan dalam penghasilan novel intertekstual. 'Pengarang umum' yang dikaji ialah Buyong Adil, Mohd Nasir Zainal Abidin, Azizi Haji Abdullah, A. Samad Said, Zaharah Nawawi, Marah Rusli, Trisnoyuwono, Pramoedya Ananta Toer, Hamka, Harun Aminurrashid, Muhammad Ariff Ahmad, Mohamed Latiff Mohamed dan Isa Kamari. Sementara 'tiga pengarang pilihan' yang ditumpukan ialah Anwar Ridhwan (Malaysia), Putu Wijaya (Indonesia) dan Suratman Markasan (Singapura).

Analisis terhadap hubungan intertekstualiti ini menemukan antara ciri kepengarangan Melayu iaitu (i) pendirian pengarang terhadap konsep 'tradisi' iaitu keakuran atau keanjalan mereka terhadap teks tradisional yang dirujuk sama ada dari aspek tema atau struktur naratifnya, (ii) kecenderungan pengarang melakukan inovasi/eksperimen dan melawan konvensi khususnya dalam 'pembentukan semula' teks awal mereka, (iii) dinamisme pengarang menerima dan menyesuaikan teks pengarang lain (universalism lawan particularism), serta (iv) ketekalan sebahagian besar pengarang mengajukan persoalan politik dan kepimpinan.
This study focuses on the concept of 'inter text' in Malay novels. The concept appears in Malay literary tradition for instance in lipurlara, manuscript writing and the novel itself. This tendency relates to 'intertextuality' as a phenomenon on the existence of 'a text in a text' or 'dialogue between texts'. Julia Kristeva coined the term 'intertextuality' in her readings of the work of Mikhail Mikhailovich Bakhtin and Ferdinand de Saussure's sign system and later followed by few scholars for instance Roland Barthes, Gerard Genette, Michael Riffaterre and Harold Bloom.

A number of intertextual formulae initiated base on those two tendencies and lists of novels written in Malaysia, Indonesia and Singapore which support the concept. The intertextual formulae exhibit the relationship between hypotext (earlier text) and hypertext (later text) ; showing the process, meaning conveyed and the rational of using it. The four formulae are those hypotext as (i) traditional texts, (ii) the author's own texts, (iii) the other writers' texts, and (iv) non-creative texts. It's applied in few models of 'general writers' and 'selected writers' for each countries; writers whom consistently produce intertextual novels. The 'general writers' are Buyong Adil, Mohd Nasir Zainal Abidin, Azizi Haji Abdullah, A. Samad Said, Zaharah Nawawi, Marah Rusli, Trisnoyuwono, Pramoedya Ananta Toer, Hamka, Harun Aminurrashid, Muhammad Ariff Ahmad, Mohamed Latiff Mohamed and Isa Kamari. While the 'selected writers' are Anwar Ridhwan (Malaysia), Putu Wijaya (Indonesia) and Suratman Markasan (Singapore).

This research discovers that the Malay authorship's criterion are, (i) the writers' standpoint on the concept of 'tradition', whether they are being conformed or not towards either the theme or structural aspect in traditional texts, (ii) the tendency among the writers to perform innovation/experimental versus convention especially in reforming their earlier texts, (iii) dynamism to accept and modify other writers' texts (universalism versus particularism), and (iv) being consistent on the political and leadership theme in their writings.