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All Journal Tsaqofah: Jurnal Penelitian Guru Indonesia Asian Journal of Islamic Studies and Da'wah
Nesa Riska Pangesti
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Religion Humanities Education Social Sciences

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Klasifikasi Emosi Tokoh Utama dalam Novel Moga Bunda Disayang Allah Karya Tere Liye: Perspektif David Krech Anisa Yusni Putri; Nesa Riska Pangesti
Asian Journal of Islamic Studies and Da'wah Vol 4 No 1 (2026): Asian Journal of Islamic Studies and Da'wah
Publisher : Darul Yasin Al Sys

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58578/ajisd.v4i1.8935

Abstract

The novel Moga Bunda Disayang Allah by Tere Liye portrays the inner struggle of a human being facing life’s conflicts through the main character, Karang, who experiences traumatic events and intense emotions. This study aimed to classify the emotions of the main character as reflected in Karang’s characterization in the novel, based on David Krech’s literary psychology perspective. A descriptive–analytical method was employed, grounded in David Krech’s emotional classification within literary psychology. The research data consisted of words, phrases, clauses, and sentences containing emotional aspects of Karang, drawn from the fifth edition (February 2024) of Moga Bunda Disayang Allah. Data were collected through intensive reading and note-taking, while data validity was ensured using triangulation techniques. The findings show that Karang experiences seven primary types of emotions: guilt, repressed guilt, self-punishment, shame, sadness, hatred, and love. Guilt emerges as the most dominant emotion, shaping his initial characterization as stubborn, egocentric, and indifferent. Through Karang’s interactions with Melati and the family of Tuan HK, the emotion of love develops and drives his personality transformation into a more caring, affectionate, and considerate figure. Thus, the dynamics of Karang’s emotions represent an inner transformation process from suffering toward acceptance and emotional recovery, while simultaneously affirming the humanistic message conveyed by the author and enriching literary psychology studies on the representation of emotion in fiction.
Ekranisasi Novel A: Aku, Benci dan Cinta Karya Wulanfadi ke Film A: Aku, Benci dan Cinta Karya Sutradara Rizki Balki Mona Lisa Dewi; Nesa Riska Pangesti
TSAQOFAH Vol 6 No 3 (2026): TSAQOFAH: Jurnal Penelitian Guru Indonesia
Publisher : Lembaga Yasin AlSys

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58578/tsaqofah.v6i3.9043

Abstract

This study is motivated by the need for a more in-depth examination of the changes that occur in the process of adapting literary works into film, with a specific focus on the adaptation of the novel A: Aku, Benci dan Cinta by Wulanfadi (print edition 2015) into the film A: Aku, Benci dan Cinta directed by Rizki Balki (released 2017). The study aims to analyze the forms of change from novel to film using ecranisation theory, which comprises three main aspects—reduction, addition, and varied modification—applied to the elements of plot, character and characterization, and setting. A qualitative descriptive method was employed, with data consisting of textual sequences obtained through close reading of the novel and detailed observation of the film as the objects of analysis. The findings show that, for the reduction aspect, 74 instances were identified in the plot, 17 in characters and characterization, and 4 in setting; for the addition aspect, 13 instances were found in the plot, 5 in characters and characterization, and 2 in setting; and for the varied modification aspect, 21 instances were identified in the plot, 10 in characters and characterization, and 4 in setting. These results indicate that the ecranisation of A: Aku, Benci dan Cinta into film involves a fairly intensive strategy of reduction, addition, and variation, particularly in the plot element, thereby producing a narrative structure that is more compact and aligned with the demands of the cinematic medium. This study contributes to the growing body of research on ecranisation and provides an empirical basis for comparative analyses between literary works and their film adaptations.
Co-Authors Anisa Yusni Putri Mona Lisa Dewi