| Summary: | After �Orde Baru� regime�s downfall, the media is able to experience the joy
in framing their creative ideas freely. Parody is presented as an alternative form of
criticism, and being the reflections of the conditions in which it is presented. Parody
becomes a tactic to convey the voices of resistance, as a form of response or rejection
on the structural condition of the existing culture.
This is a study which is based on Norman Fairclough�s three-dimensional
framework of critical discourse analysis. Object of study includes three parody texts
of "Mas Celathu" which was published in the daily " Suara Merdeka Minggu".
Through rhetoric, parody becomes the discourse of resistance. Style of language in
�Mas Celathu� becomes a representation of the lower social classes who have
minimal and limited access in breaking down political power. The main interest of
this study is to see how the power of parody builds �the resistance bridge� which
against the dominant power.
Mas Celathu emerges in the vague moment and it fills the "void" of parody
fragment in the media (Suara Merdeka). Having previously taken part in a political
parody on television, Butet was asked to be the soul of "Mas Celathu" which has been
prepared by Suara Merdeka. In this study, resistance tactics is observed on some
levels, namely the level of the text, the level of discourse practices, and the level of
sociocultural. This objective of the study is to explain three element, namely: (1)
representation of class in �Mas Celathu� parody texts (2) the process of production
and consumption of �Mas Celathu� parody texts, (3) the influence of socio-cultural
aspects on the existence of �Mas Celathu� which succeed in giving opportunities to
build resistance.
The result of the study indicates that the resistance at the level of the text is an
evidence to how social class moves to fight through the series of analogies,
vocabularies, and the metaphors that form the unity of parody. In the level of
discourse practices, resistance appear through the contribution of the production
process and consumption of texts. The background of the author influences the
phases of text production, while consumers see the parody itself as a form of
aggression that entertaining. At the sociocultural level which is macro factor, it
influences the existence of �Mas Celathu�. Situationally, a situation which contrary
to the thought of Mas Celathu character himself gives an expressive measures in the
form of parody, though in the process, as the man behind Mas Celathu character,
Butet is under the shadow of the media commodity where he work for. Expressive
freedom and Javanese culture which close with atmosphere of humor plays major role
in giving an opportunity on the birth of �Mas Celathu� parody.
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