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THEPOWEROFTHEVISUALLANGUAGEOFEDITORIALCARTOONSASAMEDIUMFORSOCIO-POLITICALCRITICISMININDONESIANovalSufriyantoTalani,YasrafAmirPiliang,andHafizAzizAhmadInstitutTeknologiBandungtalani_121179@yahoo.co.id;ya-piliang@bdg.centrin.net.id;hafizsan@yahoo.comAbstract

Thisarticleisapartofthedissertationresearchgeneratedfromaliteraturereviewofsomepreviousrelevantresearch.Fromthestudy,theauthorfoundthatthevisuallanguageofeditorialcartoonshasthepowertodelivercriticismwithoutcausingcontroversy.ThepoliticaldynamicsinIndonesiasincetheeraoftheOrdeLamatopost-reformshowedadifferenceinthecharacteristicsofthecartoonistsinconveyingcriticismthroughtheircartoons.IntheperiodoftheOrdeLama,acritiqueintheeditorialcartoon is expressed in a very satirical and direct way addressed to the person or group that iscriticized.IntheOrdeBaruperiod,thecriticismexpressedthroughcartoonsdoesnottargetdirectlythe President Suharto or people nearby. Post-reform criticism in an editorial cartoon is againperformed openly and targeted directly the intended figures including President Susilo BambangYudhoyono.Even inacertainwayandcartoonist inprocessingawaycapableofdirectingcriticismbecame an accusation or abuse. Nevertheless, as hard as any criticism is described through theeditorialcartooncontroversyornotcausechaosinsociety.Thatiswhyuntilnowtheeditorialcartoonsarestillbeingthemostimportantpartinthemassmediaasamediumforconveyingcriticism.

Keywords:power,editorialcartoons,visuallanguage,medium,criticism.

INTRODUCTION

ThisresearchisapartofaresearchdissertationwhichexaminesthevisualideologyofeditorialcartoonsofnewspapersinIndonesia'spoliticaldynamics.Inadditiontothespreadoftheideologythroughverballanguage,ideologymayalsospreadthroughcartoons.BasedontheresearchofElisaColinaNaghy(2010), the cartoon was able to redirect the ideology. Initially directed through understanding howinformation and imagesdisplayed. From this understanding then that affect the interpretationof theaudience'sresponsetotheeventsshowninthecartoon.Herethepictureasanotherlanguagethatisusedtospreadtheideologyiscalledvisuallanguage.AccordingtoNeilCohn(2007:35-36),visuallanguageisalanguagethatwehaveinadditiontotheverballanguageofsoundsandlanguagemarkedbygestures.Editorialcartoonsusednewspapersasamessageinvisualforminadditiontotheverbalmessage.Editorialcartoonsnotonlyfunctionedasapartofthemassmediaopinionbutalsoservesasacommentorcriticismofapersonoreventthatoccursdailyandcommunityhighlights.Incontrasttootherworksoffineart,throughadistinctivevisuallanguage,editorialcartoonsfeaturingsatireandcriticismsarehumorousandfollow the rules of journalism. How to communicate satire and criticisms as it becomes an editorialcartoonuniquenesssothatrarelycausedcontroversy.

In the academic context, some research done earlier as objects of inquiry from variousperspectives theory. Through this paper will explain some previous research that is relevant to theauthor's dissertation research. As for research that examined, among others: the study of PriyantoSunarto(2005)aboutthevisualmetaphorofeditorialcartoonsandWagiyonoSunarto(2008)aboutthemythandcounter-mythofSoekarnoandhisideologyinpoliticalcaricatures.ResearchofFerryDarmawanand Yasraf A. Piliang (2015) about cartoonist visual communication through online political cartoons,analysisofTaufanHidayatullah(2007)aboutthemeaningofpoliticalcartoontheworkofPramonoR.Pramoedjo and research ofNoval Sufriyanto Talani (2012) about illustrations corruption in the rubricOpinionKompas.Inparticular,theliteraturereviewwasconductedtoexplainthepowerofthevisuallanguageofeditorialcartoons.Aslongasthiseditorialcartoonmanyunderstoodasapartofthemassmediatheopinionsonly.Butwhenarereviewedagaintheeditorialcartoonhasavisualizationsystemofgrammaraswellasverballanguage.Gunter Kress and Theo van Leeuwen (2006:1) revealed thatmany studies ignore the visualgrammar.Thesameasthelanguagedescribinghowwordscombineclauses,sentences,andtexts,awayofdescribingvisualelements---people,placeandotherthings---incorporatevisualstatementsthathaveagreatercomplexityorlowerandtheextensionisawayofexplanationinvisualgrammar.

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Toknowthepowerofthevisuallanguageofeditorialcartoons,theauthorusesthetheoryofKressandvanLeeuweninsearchofthemeaningofvisualdesignthroughthevisualgrammar.Theresultsofthisdefinitionthenoutlinethepowerofthevisuallanguageofeditorialcartoonsindeliveringasocio-politicalcritique.FINDINGSANDDISCUSSION

Basedondatafromthepreviousresearchfoundthatthereisthreeeditorialcartoonpublicationperiods. First, the editorial cartoon published in the era of Soekarno, in particular, the end ofparliamentary democracy and the guideddemocracy. Priyanto Sunarto (2005) andWagiyono Sunarto(2008)examinestheeditorialcartoonpublishedintheeraofSoekarno.Furthermore,theeditorialcartoonpublished during the Soeharto reviewed by Taufan Hidayatullah (2007). Finally, the editorial cartoonpublishedintheeraofpost-reformexaminedbyFerryDarmawanandYasrafA.Piliang(2015),andNovalSufriyantoTalani (2012).DarmawanandPiliang researchedpolitical cartoononlinewhile theeditorialcartooninthenewspaperexaminedbyTalani.Exampleofeditorialcartoonsthatappearedineachperiodwillbedescribedinmoredepthtoexplainhisstrengthindeliveringsocio-politicalcritiquethatoccurredatthattime.However,beforeitwillbeoutlinedinadvancethefindingsfromeachofthepreviousresearchandwillthenbepresentedwiththepowersthevisuallanguageofeditorialcartoons.

PriyantoSunartoinhisresearchfoundthatthereisahighrelationshipbetweeneditorialcartoonandpartisanshipofthemediawiththepoliticalsituationandtheculturethatsupportsit.Inter-relationaspectofthefinearts,political,socialandculturalvalueofhertimecoloringlookmetaphorsineditorialcartoons attempted by emotive stance. The political system presents to affect the expression of thecartoons. The visual characteristics of the editorial cartoon in the times of parliamentary democracy,liberalpoliticalsystemreflectstheunderlyingappearanceofcartoons,andtheselectionofappropriatecommunity cultural metaphor overshadows. That kind of political system makes the metaphor incartoons,outrightorutilizedfortaunting.Avarietyofmetaphorsthatappearinthecartoonreflectstheopenness of the system of symbols and values of societywhich gives opportunity tometaphors andexpressionsofemotivestance.Aneditorialcartoonintheemotivepositioncandescribetheattitudeofideologicalandpoliticalnewspaperswhichpublishedit(Sunarto,2005:218-219).

In addition to functioning as the carrier of a message, editorial cartoons can also form andremodelthemythofsomeonewhohighlightedinthecartoon.Forexample,themythsandcounter-mythofSoekarnoanditsideologyinthecartoon.ThroughtheresearchresultsWagiyonoSunarto,weknowthatthephenomenonoccurredsincetheformationofthemythoftheSoekarnoeranationalmovementyears1927-1965 its consand thenmaintained itsposition fromtheyear1966-1967.Media thathavepolitical affiliations to Soekarno tend to become defenders and continue to strengthen the myth ofSoekarno. According to Sunarto (2008:206) at the time of Soekarno, the cartoon became a tool forattackinghispoliticalopponentsbothdomesticallyandabroad.Becauseofthepresswhenitispartisan.However, changes occurred during the transition from Soekarno to Soeharto's post G-30-S/PKI; thecartoonbecameameanstoattacktheSoekarno,ideology,andhisgroup.EventhecartoonscontinuedtoformanopinionforendingthepowerofSoekarno.

IntheeraofSoehartocalledOrdeBaruera,therewasadifferenceinthepoliticalsystemknownasPancasilademocracy.ThissystemisincontrasttothepoliticalsystematthetimeofSoekarnowhichembracedparliamentarydemocracyandguideddemocracywhichhaveanimpactontheopennessofthemassmedia.DuringthereignofSoehartoGovernmentinterventionagainstthemassmediatoaffectthecontentandtheexistenceofthem.ThepressisrequiredtomaintaintheStateideologyofPancasilaandorderofsocietyifthereisareverseimpactonbanningordisablingpublishing.MainlywhenthemediaspreadthedoctrineofMarxism-Leninism-Communism(SenandHill,2001:44-45).Thepoliticalsituationas it also influenced the editorial cartoon published newspapers. Research results from TaufanHidayatullah found that in the political cartoonwork Pramono R. Pramoedjo there are two differentcharacters.First,thecartoonthatsignifiesacompromisewiththesituationthathappenedduringtheneworder.Second,thecartoonthatisfreeof"pressure"sothatitlooksmorestraightforward(Hidayatullah,2007:125-126).InformingthedifferenceisprudencecartoonistinportrayingthecharactersintheOrdeBaruregimelikeSoeharto,UmarWirahadikusumah,orIsmailSalehintocartoons.Submissionofindirectcriticismleadinguptothefiguresbutinsteaddirectedtoofficialsaroundhim.PramoedjowascarefultokeeptheharmonizationofrelationsbetweenthemassmediabytheGovernment.

AradicalchangeoccurredaftertheendofneworderregimeinMay1998.Deliveryofcriticismthrougheditorialcartoonsareveryopenandleadsdirectlytoapersonoreventdestination.Evenatsome

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stageexpressionofcriticismincartoonstendedtobesarcasm.ChangethewaythecartoonwascriticizedthroughresearchfindingsNovalSufriyantoTalani.Inhisresearch,Talani'sanalyzestheillustrationintheKompasnewspaperOpinionpage,especiallyregardingtheissueofcorruptionthatoccurredduringtheyear2011. Thenumberof casesof corruption involvingmembersof theDemocraticPartymakes thecartoonist showing his criticism directly to the party figures including President Susilo BambangYudhoyono.VisualizationofcorruptionintherubricOpinionKompasistheresultoftheinterpretationofthemediathroughthecartoonisttohighlightcorruptioneventhappened.Aneditorialcartoonwasdrawnbyvariouslexicalrepresentationlevels(visual)inthestyleofthediversevisuallanguagebothsatireorsarcasm (Talani, 2012:200-202). Broadcast message through the illustrations not merely lexicalrepresentationstructureseenfrombeingused,butalsolookatthesignsofwhattouseandhowsignsweremanaged andwere composed of language styles will illustratewhat used as amessenger of amessage.

Thefreedomtoconveycriticismthroughcartoonscanalsobeseeninpoliticalcartoonsonline.Based on the results of the study of Ferry Darmawan and Yasraf A. Piliang (2015:203-204) on onlinepolitical cartoon shows that in political cartoons online there are participants that act as interactivecommunicationfollow-uptothepicturewiththereaders.Visualmessagesaredelivereddirectlytothedeaths reported, in this case, called subjectivemodalities. The cartoonist did a visual communicationthrough political cartoons so free including highlighting the ruling as President Susilo BambangYudhoyono. The depiction of the characters in cartoons is iconic create messages easily recognizedbecause itdescribestheactualsituation.Here isvisible inthecartoonist's freedomofexpression. Inafiercecriticismdeliveredcartoonistshowsguaranteestoexpresshisideasfreely.

Basedonthefindingsofthestudiesabovecanbeformulatedthateditorialcartoonsintoameansofpracticalsocialandpoliticalcriticism.Proveneditorialcartoonsuntilnowisstillacrucialpartofthenewspaper.Infactalmostallnewspapers,magazines,ortelevisionasTVOneusesasitseditorialcartoon.Thecriticismdeliveredthrougheditorialcartoondepictednotonlysymbolicallybutalsometaphorically.Acharacterinthecartoonisusuallydrawnfollowingitsoriginalfaceorthroughsimplificationofformbutnotreducethesimilaritybetweenpictureswithcharactersdrawntofacilitatetheaudiencerecognizehim.

Howthedeliveryofsuchamessagerelatedtothereliabilityofamessage.Themeaningofamessage will affect the audience's knowledge. Kress and van Leeuwen (2006:154) stated that thereliabilityofmessagesrelatedtowhatweseeorhearistrue,factual,real,orisitalie,fiction,oranythingelseoutsideofreality.Theobjectdepictedfacingtowardstheaudienceintendedtoinvolvetheminvisualinteraction. Often a character is drawn in the editorial cartoon also leads to the audience so theinteractionbetweenimageandviewer.Themeaningofapicturethatdisplaystheobjectasitiscalledthesignificanceofcommunicationbecausetherewerecontactanddistancebetweentheparticipant(inthepicture)with theviewerand thepresenceofapointof view in thecartoon (KressandvanLeeuwen,2006:45).

From the results of the study of literature, the authors find that the visual language of theeditorial cartoon has three strengths in conveying criticism, namely the power of symbolic,representational,andmetaphor.Athirdstrengthispresentintheeditorialcartoon.Butoneofthemoreprominentofthatpoweronthestrengthofothers.Belowthereare20editorialcartoons(seeFigure1)ofthepreviousresearchwhichisconsideredtorepresentthethreepowersabove.Thecartoonsappearedindifferenttimes.TheimageonthefirstrowuntiltherowisthethirdcartoonpublishedintheeraoftheSoekarnoandSoeharto.Twolinesbelowitistheimageofthepost-reformespeciallyintheleadershipofPresidentSusiloBambangYudhoyono.Theauthordoesnotaddresstheentirecartoononebyonebutexplainssomeofthepicturesonlyfordiscussionofthethreerepresentsthepowerofthevisuallanguageofeditorialcartoons.

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Figure1.TheEditorialCartoonsoftheEraofSoekarno,Soeharto,andpost-reform(Source:partofanpreviousresearchdata)

THESIMBOLICPOWEROFEDITORIALCARTOONVisualexpressionsystemineditorialcartoonsfromvarioussymbols.Thesymbolswere inthe

formof images, text,oracombinationofboth(seeFigure2). InFigure2.1editorialcartoonshavenowriting.Butacollectionofavarietyofsymbolsinthecartoonwasabletobuildalotofstories.ThepictureistheworkofSibaranionnewspaper“BintangTimur”theyear1957.Hecompiledadiversecompositionofsymbolssuchthatitformspartoftheface.Elementsofafacemadeupofotherobjectsofsubstitution,andthefaceisfacingtowardstheaudience.Thereisnosinglemeaningofthecartoon.Eachviewercaninterpreteachexistingsymbolitselfandgainedanimpressiondifferenttootheraudiences.Cursoryimageimpressionisfunnybutmainlythisverycartoonsatire.Whenobservingthepictureinmoredetailthenitwillbefoundsomethingdisrespectfulandcruel.Thenakedwomanwhourinatedonthepersonbeneathher represents irreverence and makes someone like a cigarette to representation of cruelty. Not tomentionwhenyou connect itwithother symbols suchaspicturesof cars, people,bags, flowers, andotherswillmakeacartoonhasa lotofstories.Refertothedescriptionofthecartoon"GreatLeader"directingpeopletotheassumptionofthebehaviorofaleader.SothisworkofeditorialcartoonsSibaranicriticizingaleaderbyrevealinghisbehavior.

Incontrasttothepreviousimage,theeditorialcartooninFigure2.2combinessymbolimagebywritingeventhoughhiswritingsinlimitedquantitiesonlyonbooksandknives.Observethesymbolsonthecartoon-likeimagesofseats,caps,clothes,baton,glasses,books,andtheknifewillmaketheaudienceeasilyrecognizestheentirepropertythathasPresidentSoekarno.TheviewercaninterprettheseimageswiththeexpirationofthepowersofPresidentSoekarno.Writing"G-30S"and"MANIPOL"representsissuecoup on 30 September 1965 by the Communist Party of Indonesia (PKI) failed and the teachings ofSoekarno, who don't need to read. The cartoon became a sort of a counter myths over the thenconsideredverypowerfulinabsoluteterms.

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Figure2.ThepowerofsymbolicinEditorialCartoonsSource:(1)AnEditorialCartooninthenewspaper“BintangTimur”in1957inSunarto(2005:92)(2)AnEditorialCartooninthenewspaper“HarianAbadi”in1951inSunarto(2008:296)

From the perspective of visual grammar, both cartoon interactively has the distinction ofmeaning.Twooftheabovepictureaboverepresentjustacartoonfirstinteractiverelationshipbetweenobserverwith images. Interactivemeaning of an image is to notice any contact, social distance, andattitudesfoundincartoons(KressandvanLeeuwenMonday,2006:149).Thepositionofthefaceforwardandasifgazingtotheobservershowedacontact.Moreover,thefigureofpeopledrawnincartoonsamajoritytowardstheaudiencesothatitshowsthepresenceofinteractionresources(attitude)individualimages.Thedepictionofthefacewiththeangleofviewcloseupmakeasocialdistanceinthecartoonisclose(seeFigure2.1).Likeasentence,boththepictureinFigure2asacomparisonbetweenactiveandpassivesentences.REPRESENTATIONALPOWER

In addition to have the power of symbolic, the editorial cartoon also has a representationalpower.Thepowerofusingsymbolsthatresembletheoriginalreality.Theexistenceofasimilaritywithpeople or objectsmakes it easier to understand themessage in the picture viewer. In semiotics, thesimilaritybetweensignifierandsignifiediscalledicons(Piliang,2004:194).SeethecartooninFigure3isstraightforwardobserversrecognizethecharacterinit,namelySoekarnoandSusiloBambangYudhoyono.Figure 3.1 displays activity of the then currently hitting the empty barrelwith a backgroundof threepeople are standing and the trees. This picture is critiquing the opinion later stated the presence offoreignerswhowantedtodestabilizeIndonesiawhoborrowsaproverb"tongkosongnyaringbunyinya."Butthenthestatementofthethen-unprovensowhathewassayingwaslikeanemptybarrelthatreadsaloud.

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Figure3.ThepowerofrepresentationalinEditorialCartoonsSource:(1)AnEditorialCartooninthenewspaper“IndonesiaRaya”in1955inSunarto(2005:171)

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(2)Politicalcartoonsonthewebsitewww.inilah.comtheyear2010inDarmawanandPiliang(2015:201)

ThecartooninFigure3.2highlightsofYudhoyono'sGovernmentpolicyBillprivileges.Throughthetechniquesofadigitalimage,facialresemblancetotheoriginalimageontheviewermakesiteasytoidentifythefigureinit.Inthiscase,theeditorialcartoonshighlightedtheattitudeofYudhoyono.Withthepowerof thismessage in theeditorial cartoonsbecamequite clear andeasy readable critiqueofintent. Audienceswill be no longer struggled to find themeaning of the picture because it's easy tounderstandhissymbol.THEPOWEROFMETAPHOR

Anotherstrengthofeditorialcartoonsthatpossesarehisabilitytodivertcriticismobjectwithsomethingelse.Forexample,thepersonificationoftheratisadiversionfromthecorruptororeventofcorruption.Redirectscanusereplacementorresult,analogy,comparison,andthesimilarityoftheobject(Sunarto,2005:28).Figure4.1displaysfourcharactersincartoons.Threepeoplewereeatingfoodandanother lookatthem.Onthetableareavailablepackedintheformofchickenmeatwithacloththatreads "Dana SD Inpres." Editorial cartoon work of this Pramono R. Pramoedjo critiquing misleadingGovernment officials help funds for presidential instruction elementary school. The actions of thecharactersarecartooneatingchickenmeatintootherobjectsdistractingsituationsofabuseofauthorityagainst the presidential instruction elementary school. The figures in the pictures do not representsomeonepreciselysothatitisnotclearwhodidthemisleadingofficialpresidentialinstructionelementaryschoolfund.However,inthecartoonsatiretoofficialsdeeplyfelt.

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Figure4.ThepowerofmetaphorinEditorialCartoonsSource:(1)AnEditorialCartooninthenewspaper“SinarHarapan”in1983inHidayatullah(2007:87)(2)AnEditorialCartooninthenewspaper“Kompas”in2011inTalani(2012:136)

Figure4.2combinesvisualandverbalelements(thewritings).Insidearepicturesoftheflagflyingbutshabby,perforated,tear,andfullofpatches.Everypatchthatreads"Eksekutif,""Legislatif,"andthe"Yudikatif."Inadditiontotheflag,therearetwopeoplewhoaretalking.Thewords"Makinsempurnaapanya?Merakyatnya?"and"Korupsinya" indicatesthecontentsof theconversation.Themeaningofthese images is the destruction of the country due to the corruption that plagued the three majorinstitutionsofacountry,namelytheexecutive,legislative,andjudicial.AlthoughcorruptionistheStateinstitutionsbuttheeditorialcartoonworkofJitetKoestanaithighlightslegislativememberswhocommitcorruption(Talani,2012:72).Thiseventturnedhiscartooncorruptionharmstatethroughthemetaphorofahollowandfullflagpatches.CriticisminthecartoonisnotonlythequestionofcorruptionbutalsotheindifferenceoftheinstitutionoftheHouseofRepresentatives(DPR)againstthepeople.Aninscription"Merakyatnya?"becomesamarkerthatquestionedtheconcernoflegislativememberstothepeople.CONCLUSIONANDSUGGESTIONS

Based on the above literature review can provide an understanding that editorial cartoonsbecame ameans of a socio-political critique of theMessenger. Display of humour in cartoonsmadecriticismmorememorableandinvitedsmilesfrompeoplewhoseeit.Visualexpressionsystemusedwill

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haveanimpactonthestyleofdeliveryofcriticisminaneditorialcartoon.Frompreviousresearchdata,there is three editorial cartoon publication time periods, i.e., the era of Sukarno, Suharto, and post-reform. In every time of its publication,wewill find a unique style of criticism fromeach cartoonist.Through the theoretical visual grammar approach, this article found that the visual language of theeditorialcartoonhasthreepowers,namelythepowerofsymbolic,representational,andthepowerofmetaphor. The symbolic power of an editorial cartoon is the ability to display the criticism also takeadvantageofvarioussymbolsinitasaformofmasterycartoonistefficientlyutilizeexistingsymbols.Theuseofasymbolthathassimilaritiestoapersonorthinginacartoonwouldmakeiteasyforobserverstounderstandthemessagesinit.That'sthepowerofeditorialcartoonsarerepresentational.Thepowerofmetaphoristhepowertodivertcriticismwithsomethingelsethroughreplacementorresulting,analogy,comparison,andthesimilarityoftheobject.Throughthepowerofthesethreevisuallanguagesthatmakeeditorialcartoonsbecamethemeanseffectivelytoconveycriticismsothathispresenceissignificantforthemassmedia.REFERENCESCohn, N. (2007). A visual lexicon. The Public Journal of Semiotics, 1(1), 35-56. Retrieved from

http://www.emaki.net/essays/visuallexicon.pdf.Darmawan,P.&Piliang,Y.A.(2015).Cartoonistvisualcommunicationthroughonlinepoliticalcartoonin

the eraof theGovernmentof President SusiloBambangYudhoyono, Jurnal Pendidikan SainsSosial dan Kemanusiaan, 8(2), 195-204. Retrieved from http://www.mindamas-journals.com/index.php/sosiohumanika/article/viewFile/604/602.

Hidayatullah, T. (2007):Maknakartunpolitik karyaPramonoR.Pramoedjoperiode1980-1986 (Masterdissertation,Bandung InstituteofTechnology,Bandung, Indonesia).Retrieved fromLibraryofFacultyofArtandDesign(FSRD).

Kress,G.&vanLeeuwen,T.(2006).ReadingImages:TheGrammarofVisualDesignSecondEdition.NewYork:Routledge.

Naghy, E. C. (2010): Directing ideologies through media cartoons (Master dissertation, UniversidadComplutense de Madrid, Madrid, Spanish). Retrieved from http://eprints.ucm.es/12620/1/Corina_Naghy.pdf.

Piliang,Y.A. (2004). SemiotikaTeks:SebuahPendekatanAnalisisTeks. JurnalMediator,5(2),189-198.Retrievedfromejournal.unisba.ac.id/index.php/mediator/article/download/1156/715.

Sunarto, P. (2005).Metafora visual kartun editorial pada surat kabar Jakarta 1950-1957(Doctoraldissertation,BandungInstituteofTechnology,Bandung,Indonesia).RetrievedfromLibraryofFacultyofArtandDesign(FSRD).

Sunarto,W.(2008):PemitosandanperombakanmitosSoekarnodanideologinyadalamkarikaturpolitikdi surat kabar Indonesia pada masa demokrasi terpimpin sampai akhir kekuasaan PresidenSoekarno (1959-1967) (Doctoral dissertation, University of Indonesia, Jakarta, Indonesia).RetrievedfromLibraryofUniversityofIndonesia.

Talani,N.S. (2012): Ilustrasikorupsi dalam rubrikOpiniKompasperiode 2011:sebuahtinjauanwacana visual (Masterdissertation,Bandung InstituteofTechnology,Bandung, Indonesia).RetrievedfromLibraryofFacultyofArtandDesign(FSRD).