Principles of Textual Rhetoric in CakCuk Discourse

This research aims to study how the creator of CakCuk creates language based on the principles and maxims of textual rhetoric in CakCuk designs. The data was collected using a method of observation, with a basic technique of recording followed by a technique of note-taking. The data analysis used a method of distribution, comparison, and contextual identity. The results of this study show that CakCuk discourse is a product of the language creativity of its creator through the utilization of principles or maxims of textual rhetoric. The key to this creativity is the creator's ability to use maxims in order to achieve efficiency, clarity, effectiveness, and attractiveness in the text. The motivation underlying the choice of principles/maxims is: (i) the principle of processability in order to determine the main focus and weighting of the text; (ii) the principle of clarity in order to make the message clear; (iii) the principle of economy in order to keep the text as short as possible; (iv) the principle of expressiveness in order to make the text effective.


INTRODUCTION
CakCuk is a product of the creative industry from the subsector of fashion and design which produces a variety of souvenirs, such as t-shirts, gifts, and accessories. One aspect of CakCuk that is interesting to study linguistically is the use of language, since this is the most important aspect in the creation of the product design. The design process essentially takes into account the aspects of function and aesthetic, as well as various other aspects that are derived from ideas, brain-storming, and other previous designs. Designs that involve the use of language become interesting when the arrangement of the language itself can be understood as a text (textual discourse) which produces numerous different interpretations in terms of linguistic perspective.
In terms of functionality, discourse is the totality of transaction and is considered as an attempt to convey the power of discourse to the reader. Textual power is pragmatic power which explains clearly the speaker's intention about the condition/ final objective to be achieved. In line with this functionality, CakCuk discourse is understood to be (2) the ideational transaction, or delivery of the message (message-transmission); and (3) the textual transaction, or text. These transactions are arranged in a manner such that CakCuk discourse embraces the message and the message embraces the text. Thus, CakCuk discourse shows a series of transactions. Each transaction has a different purpose from the overall textual organization. The interpersonal transaction aims to divert the function of (certain) language, as a tool for revealing the creator's motives and influencing the attitudes and behavior of the reader. The ideational transaction aims to divert the function of language as a transmitter and interpreter of the world experience. The textual transaction aims to divert the function of language as a tool for constructing a text.
The use of language elements in CakCuk designs, whatever form they may take, is essentially a form of discourse. As stated by linguists, the meaning of discourse is the use of language in communication, both oral and written (Halliday and Hassan, 1979;Widd 1981;Brown and Yule, 1983). The use of language in written form is discourse that is referred to as a text (speech). A text (speech) consists of words or sentences. Thus, a text also consists of different meanings. However, a text is also a unit of meaning. The meaning of a text can be understood through the communication situation that accompanies or supports the speech (context) and the meaning that is agreed upon by the language users in the communication process. In the design of CakCuk products, the context of a text may be in the form of an icon, image, diagram, and so on.
In natural communication, the speaker articulates speech with the intention of communicating something to the listener and hopes that the listener understand the words conveyed. Moreover, in interpersonal communication, there is a kind of cooperative principle which is followed by the speaker and the listener so that the communication process runs smoothly (Wijana, 1995:33--35). The speaker tries to convey his speech in a way that is relevant to the context, clear, easy to understand, compact, concise, and always straight forward. According to studies in pragmatics, when a deviation occurs, there are certain implications that the speaker wishes to achieve. In CakCuk discourse, the potential for deviation in the principle of rhetoric is likely to occur for a variety of reasons, such as limitations of the media, humorous effect (comic effect), aesthetic effect, or other effects.
Rhetoric, in the traditional sense (in certain historical traditions), is defined as the art of using language skills for the purpose of persuasion, literature, or giving a speech. In its general understanding, rhetoric, as stated by Leech (1993:22), is effective in the use of language in communication, not just limited to formal and planned conversations, but also including everyday conversation. The term rhetoric focuses on the goal-oriented speech situation, and in this situation the speaker uses language with the aim of producing a certain effect in the mind of the listener.
Rhetoric can be understood as a set of conversational principles that are related by their functions. Halliday (1979:57--79) distinguishes rhetoric into two types, namely interpersonal rhetoric and textual rhetoric. Each type of rhetoric consists of a set of principles, such as the cooperative principle and the principle of courtesy. These principles also consist of a set of maxims (Grice's terminology (1981)). It is more appropriate to observe the use of language in CakCuk designs from the perspective of textual rhetoric because the textual aspect is much more prominent in the use of language in this context. Textual rhetoric has been described by Slobin (1975:1--30) as a device consisting of a number of principles that serve as a pragmatic factors which control the text. Slobin divides this textual rhetoric device into four principles: (1) try to ensure that the text can be processed within the time limit of human capability; (2) try to ensure that the text is clear; (3) try to keep the text short and easily understood; and (4) try to make the text expressive.
In line with Slobin, Leech (1993:96--106)) also describes four principles of textual rhetoric: (1) the principle of processability, (2) the principle of clarity, (3) the principle of economy, and (4) the principle of expressiveness. The principle of processability means that the text is presented in such a way that it is easy for the audience to decode the message in time. Theoretically, the text and message are different because a text is linear and time is limited, so that in the process to decode the message, we often have to determine (a) how to divide the message into units; (b) how many subordination levels there are and how important is the role of each of the units; and (c) how to arrange the units of the message. The principle of clarity is divided into two maxims, namely (a) the maxim of clarity and (b) the maxim of ambiguity. The principle of economy ensures that the text is kept short and easily understood. This principle has the maxim of reduction. The processes contained within the scope of reduction are (a) pronominalization, (b) substitution (replacement), and (c) ellipsis (deletion). The principle of expressiveness requires the text to mimic aspects of the message. From some of the principles and textual rhetoric maxims mentioned above, there are a number of maxims which tend to move towards the same goal, namely the final focus and final weight. There are also several maxims which tend to compete or conflict with each other, namely the principle of clarity and the principle of economy. In language use, the application of rhetorical maxims is determined by the desired intention or effect that the speaker wishes to achieve.
The aim of this study is to explain linguistically CakCuk discourse as a form of real implementation of language potential in the creative industry, especially related to the creation of product design. Language use in CakCuk products is studied from the perspective of pragmatics, which consider the principles of textual rhetoric in the textual arrangement of product designs. The research was conducted in three phases of activity, namely data collection, data analysis, and presentation of the results of the data analysis. The data collection was conducted using methods which referred to the basic technique of recording and followed by note-taking (Sudaryanto:1993). The data analysis was conducted using methods of comparison and contextual identity (Sudaryanto:1992(Sudaryanto: , 1985(Sudaryanto: , 1990Rani 2006:195-199). The data in this research is lingual in nature. The research source included the various kinds of souvenirs produced by CakCuk that contain the application of language.
Previous research that is relevant to this current study includes research by Wijana (2003:1-15), presented in his Inaugural Speech on the occasion of his appointment as Professor in the Faculty of Humanities Universitas Gadjah Mada, which explains that the discourse of Dagadu is strongly associated with famous slang expressions that are familiar to Jogjakarta society. The concept of slang includes a number of irregularities, such as phonological and grammatical elements, differences between form and meaning, reinterpretation of words and phrases, and other forms of improper language use.
The above explanation led the author to the assumption that a study of CakCuk discourse from a linguistic perspective with a pragmatic approach was necessary in order to produce an understanding of the discourse genre as an aspect of language.

APPLICATION OF PRINCIPLES OF TEXTUAL RHETORIC IN CAKCUK DISCOURSE
The application of principles of textual rhetoric in CakCuk discourse refers to the opinion of Leech (1993:96--106), namely that stylistic selection in language use, both spoken and written, is regulated by principles of textual rhetoric. Textual rhetoric can be categorized into four principles, namely (a) the principle of processability, (b) the principle of clarity, (c) the principle of economy, and (d) the principle of expressiveness.
The following sub-sections present an explanation of how the application of these four principles of textual rhetoric determine the stylistic form of the text in CakCuk.

Principle of Processability in CakCuk Discourse
In determining the stylistic form of the text in CakCuk, this principle is divided into end-focus and endweight maxims. The end-focus maxim divides the message into units of meaning. Each unit is divided or separated by a space, or by punctuation such as a comma, semicolon, dash, slash, dot, etc. See data (1) and (2)  The end-focus maxim separates the message based on its phonological structure. In data (1) there are four messages and data (2) two messages. This maxim also assigns a message unit that is focused on the end of the sentence.
The end-weight maxim regulates the syntactic structure, ensuring that the light constituent precedes the heavy constituent. Thus, in the syntactic structure of sentences in CakCuk discourse, the light constituent is generally placed on the left or at the front of the sentence, while the heavy constituent is placed on the right or at the end of the sentence. See texts (3) to (5) below.
(3) Kalau sekedar misuh saja, gak perlu pake bahasa Inggris, cintailah produk Indonesia, termasuk bahasanya, di Surabaya orang misuh pake bahasa asli, bukan bahasa asing cuk! If you're just swearing, there's no need to use English, love Indonesian products, including the language, in Surabaya people swear in their own language, not in a foreign language fu*k! Pas SD dia disetrap gurunya gara-gara misuh Saya berjanji tidak akan bilang jancuk lagi Saya berjanji tidak akan bilang jancuk lagi Saya berjanji tidak akan bilang jancuk lagi Saya berjanji tidak akan bilang Bart Simpson used to live in Surabaya yo! At elementary school he was punished for swearing I promise to not say fu*k again I promise to not say fu*k again I promise to not say fu*k again I promise to not say In text (3) the clause Kalau sekedar misuh saja, gak perlu pake bahasa Inggris is located at the beginning of the sentence and categorized as a light constituent. The clause cintailah produk Indonesia, termasuk bahasanya, di Surabaya orang misuh pake bahasa asli, bukan bahasa asing cuk! is a heavy constituent and located at the end of the sentence. In texts (4) and (5) the clauses Bali aja dimakan di Surabaya and Bart Simpsons pernah tinggal di Surabaya lho! are both located at the front of the sentence, and are therefore referred to as light constituents. The clause ada bali telor, bali tahu, bali bandeng, bali daging, bali tongkol, bali ayam, dan bali-bali lainnya in text (4) and the clause Pas SD dia disetrap gurunya gara-gara misuh in text (5) are heavy constituents so are placed at the end of the sentence.
The heavy constituents in texts (3), (4) and (5) are the constituents that contain new information and are the primary focus of the information structure of the sentence.

Principle of Clarity in CakCuk Discourse
The principle of clarity is made up of two maxims: (a) maxim of transparency and (b) maxim of ambiguity. The transparency maxim tends to make a clear and direct relation between phonological structure and semantic structure (or between message and text), while the ambiguity maxim tends to avoid the use of ambiguous words. In the syntactic structure, clarity means that units which have a close semantic gap are also expected to have a close syntactic gap. The data on CakCuk shows that the stylistic form of the text is varied. Some texts are formed to comply with the principle of clarity while others are formed in ways that violate it by following other principles.  (6) is that a father admonishes his son for swearing but the son feels that he is treated unfairly for doing the same thing that his father does, since his father likes swearing too.

Stylistic Text Form Which Complies to the Principle of Clarity
On one hand, ambiguity should be avoided but on the other hand it is sometimes deliberately used for a specific purpose.

Form of Clarification to Avoid Ambiguity
The text I ♥ SBY in data (7) is potentially ambiguous if not followed by the clause Surabaya, maksudnya, since SBY may be misinterpreted, for example it may be understood to be referring to former President Susilo Bambang Yudhoyono. This clarification strategy is deliberately exploited by the creator to create a joke. (8)

Principle of Economy in CakCuk Discourse
The principle of economy regulates a text to be as short as possible and easy to understand. If a text can be shortened without diminishing the message itself, then the time and effort required to encode and decode it can also be minimized. The principle of economy contradicts the principle of clarity. The principle of economy requires the use of fewer language elements in the text without diminishing the message itself. On the contrary, the principle of clarity requires the use of more language elements in order to obtain a clearer message.
The principle of economy is very valuable to the creator of CakCuk for arranging the text economically due to limitations in the media used. It allows the creator of CakCuk to use fewer or simpler language units in the creation of the text. This principle enables the creator of CakCuk to use fewer units of language or language that is simpler when drafting a text. Data (10) to (12)  a text can be made simpler without diminishing the message then it is better to do so. The principle of economy is not restricted to creating simpler texts with a clear message but also has the ability to generate power of discourse without any contextual support.

Simplification at a Phonological Level
At a phonological level, simplification can be implemented by means of dissipation, abbreviation, and acronyms. Below are examples of simplification using each of these three methods.

Misuhpolitan city SURABAYA SWEARING CITY
Simplification is implemented by the dissipation of a sound unit into a word. The dissipated sound unit consists of one sound or one syllable so the word becomes shorter, as seen in data (15) in the word mesopolitan. Data (15a) is an acronym arranged by substituting one element of a word with another element. The word mesopolitan is the result of substituting the element metro in the word metropolitan with the word misuh 'swearing', thus forming the word mesopolitan by changing the sound /i/ to /e/ and /u/ to /o/, and dissipating the sound /h/ in the word misuh. The sound change occurs naturally as Surabayan people pronounce high-front and high-back vowels as mid-front and mid-back vowels.

Urinating costs a thousand rupiahs SURABiAYA
In Surabaya nothing is free Everything costs money in Surabiaya.
Acronyms are created by merging a word with an abbreviation, a word with an acronym, or a word with a word, by inserting a word between the syllables of another word. This yields a new word which is phonetically similar to the word or acronym that is already commonly known. An example of an acronym which merges a word with an abbreviation is the word KORUPSSI in data (20); an example of a word merged with an acronym is the word PERSEBUAYA in data (21); and acronyms which merge a word with another word are the words INDbONEkSIA in data (22) and SURABiAYA in (23). Simplification through the use of an acronym may make it hard for the reader to interpret the meaning

Djembatan Merah
the spirit of a never-ending hero's legend HERO CITY LEGEND While other people burn their city when attacked by enemies, or move their government to another city, or retreat and engage in guerrilla tactics, Surabayans stay fighting for the Surabayans' honour until they die.
In data (24), -nya is used as a substitute for orang Surabaya, as seen in data (24a). By using this simplification, text (24) is more compact than text (24a).

Principle of Expressiveness in CakCuk Discourse
The principle of expressiveness not only concerned with text efficiency, but also text effectiveness in a broader sense, including expressive and aesthetic communication. This principle is defined in the maxim of iconicity, which encourages the language user to arrange the text by imitating a particular aspect of the message. (30) koleksi burung terlengkap dan terbesar katanya di kebun binatang wonokromo tapi yang jelas, pusat makanan "burung" terbesar se-Asia Tenggara...ya Cuma Dolly the most complete and biggest bird collection is said to be at wonokromo zoo but definitely, the biggest "bird" food market in ASEAN is only Dolly Data (28) contains a clause which is repeated in various different orders without changing the message. This kind of repetition is clearly not in line with the principle of economy, but it has another rhetoric purpose related to effectiveness and aesthetic communication. This type of repetition is known as expressive repetition, which means the repetition of form for a particular rhetoric purpose, such as creating surprise, impressing the reader, or elevating the reader's interest. In data (29) the clause BANYAK JALAN BERLUBANG-LUBANG and BANYAK LUBANG BERJALAN-JALAN is not a form of repetition but an example of the application of the principle of expression, which involves comparing two things or two different circumstances while maintaining phonetic similarity. It is a powerful way of showing differences. The same can be seen in data (30), in which the principle of expressiveness is realized through contradiction. The use of this stylistic form in a text makes the speaker more impressed.
The maxim of iconicity can also be realized by presenting a number of aspects of the text in a hyponymic way. This means that there is a correlation between the general meaning and the specific meaning.
Hyponymic correlation can be seen in the following data. The word dollymart in text (31) is superordinate, and other elements such as parkir, wisma asyik, jual kondom, R.S. Aids, klinik aborsi, mak erot, pub dangdut, obat kuat/panti pijat, tukang sunat, and silikon are co-hyponymic. A hyponymic correlation between different sections of the discourse yields a more effective text.
The maxim of iconicity can also be realized through meanings that have associative correlation. For example in data (32) the word donuts possesses associative correlation with roti berlubang, but dolly donuts has semantic correlation with roti berlubang and also associative correlation with another thing that is not mentioned in the text. Principles of textual rhetoric and their maxims are not absolute. The creator uses these principles and maxims according to the objective he wishes to achieve through the arrangement of the text. The principle of processability is used by the creator in order to emphasize or place focus on the end of the text, despite the fact that this contradicts the principle of economy. The principle of clarity is used by the creator to create a text with a clear message, although at times this contradicts the principle of economy. The principle of economy is used by the creator to make the text simpler without diminishing the message itself, although in order to comply with this, the creator must sacrifice the principle of clarity.
From the explanation about the application of principles of textual rhetoric above, it can be said that the creator of CakCuk needs to pay attention to and take into consideration numerous things related to the stylistic form of the text. By implementing the principle of processability, principle of clarity, and principle of economy, the creator will be able to arrange texts that possess a simple stylistic form, a clear message, and are able to yield efficient transaction. A text with a simple form and a clear message is considered to be insufficient if the text does not have the ability to become an effective and attractive transaction. Therefore, the creator of CakCuk should follow the principle of expressiveness in order to obtain an effective and attractive text.

CONCLUSION
The creative process of CakCuk involves two kinds of observance of textual rhetoric: first, conformity, in order to fulfil the reader's expectations, and second, violation, in order to emphasize another principle. Both conformity and violation play a part in determining the stylistic form of the text and the power of the discourse yielded by the text.
The stylistic choices related to language use are regulated by principles of textual rhetoric. This can be summarized as four principles: (i) principle of processability, (ii) principle of clarity, (iii) principle of economy, and (iv) principle of expressiveness.
Principles of textual rhetoric and their maxims are not absolute. The creator uses these principles and maxims according to the objective he wishes to achieve through the arrangement of the text. The principle of processability is used by the creator in order to emphasize or place focus on the end of the text, despite the fact that this contradicts the principle of economy. The principle of clarity is used by the creator to create a text with a clear message, although at times this contradicts the principle of economy. The principle of economy is used by the creator to make the text simpler without diminishing the message itself, although in order to comply with this, the creator must sacrifice the principle of clarity. By implementing the principle of processability, principle of clarity, and principle of economy, the creator will be able to arrange texts that possess a simple stylistic form, a clear message, and are able to yield efficient transaction. The creator of CakCuk should follow the principle of expressiveness in order to obtain an effective and attractive text.