The discussions and elaborations in this section fall into two parts. First, the intertextuality among the folktales as the texts is discussed. Second, the
intertextuality of the ideologies as the findings and the similar ideologies in different cultures follows the discussion.
4.3.1. Internal Intertextuality and Socio-Background
The ideologies and the topics are intertextually connected among the folktales. The ideology about the dependency to supernatural beings might be
accessible in all the folktales except in folktale 4 entitled The Pirates of Gili Montong.
The intertextuality among the folktales signifies the shared beliefs in the surrounding of the texts production.
The internal intertextuality also occurs in the delivery of the topics and ideologies. For instance, the intertextuality is present in both macrostructure
analysis and microstructure analysis. In the macrostructure analysis, the intertextuality is in terms of the kinds of plots and the distribution of the
macroproposition. Some folktales employ the same type of plots. The folktales 1, 2, 4, and 6 employ tragedy. The other two folktales do not intertext in terms
of the plot. The folktales which employ the same type of plots might prove that the delivery of particular ideologies might utilize the same mode. Another
interpretation is that the societies possessing those folktales might have similar customs or culture. In terms of the macropropositions, the folktales might be
generalized into similar major macropropositions. In addition, the topic about human powerlessness might overlap to support both the ideology of submissiveness
to customs and the dependency to supernatural beings. This intertextuality supports the nature of discursive practice in the discourse study.
In the microstructure analysis, the ideologies appear by the micro level of linguistic units. In the transitivity analysis, the ideologies are depicted by the same
types of processes. In the modality analysis, the same modals and the interpersonal meanings depicting the topics and the ideologies become the evidence of the
internal intertextuality. The same case applies to the analysis of the attitudes in the folktales. Those evidences in the internal intertextuality among the folktales brings
the need to discuss the ideologies in relation to the production and to the ideologies other cultures.
The origin of the folktales as the texts becomes urgent to discuss. The texts are originated from oral stories told by the communities living in and around
Komodo National Park, West Manggarai, East Nusa Tenggara, Indonesia. The socio-historical background of the island refers to the information taken from the
explanation and description by a translation of Verheijen by Ikram 1987 due to the limited sources that the writer might collect. The origins of the people are said
to be from various places. The first inhabitant is the Najo people from the mountains 1987: 5. This history is in line with one of the folktale entitled The Dragon
Princess of Komodo. Further, the other inhabitants come to the island. They are
from Sumba, Manggarai, Ambon, and other places. The community of Komodo Island seems to be close to the discourse of
fishing, farming, and the use of magic. Verheijen explains about the activities of fishing by the society. The people of Komodo island might go fishing individually
or in groups 1987: 8-10. However, there is no mentioning about the customs about the forbiddance of eating particular fish in the society. The people are said to fish
small fish. This explanation might be contradictory to the custom depicted in the
folktale entitled The Tears of Empu Mburing. In the folktale, the society does not like the main character to catch a small fish called teri fish. There are two
possibilities regarding the explanation and the story. The first possibility is that the custom of not eating teri fish does not apply anymore by the year of publication.
The second possibility is that the folktale is utilized to reintroduce the custom to the society.
Farming becomes a significant discourse in the folktales. In the folktale that is believed as the legend of the people, The Dragon Princess of Komodo, the society
moves to the mountains and gathers foods by cultivating the gardens, picking fruits and hunting. In the story entitled Siti Fari and Empu Rencak, the main character is
a simple farmer. In the book, Verheijen mentions that the people has a tradition in farming. They held a ceremony when they are going to plant corns. The common
crops in the societies are corns and grains 1987: 13. In addition, the people has a particular season also to harvest tamarind 1987: 11. A folktale mentions also
about tamarind tree. The folktale is The Pirate of Gili Montong. The depiction of the tree is more or less similar that it is big.
The use of magic is also prominent in the society. Verheijen mentions also the people who have the ability to use magic and their behavior. There are many
magic spellers in the society. They have different abilities one from another. One might have the ability to heal sick people. Others might cast a spirit away from a
possessed ones 1987: 18-19. This explanation of the use of magic is in line with the beliefs about supernatural beings as one of the topics and ideologies of the
folktales.
In relation to the ideology of submissiveness to customs, social status becomes significant. In the folktale entitled Siti Fari and Empu Rencak, the male
main character, Empu Rencak, asks the female main character, Siti Fari, to marry. However, Siti Fari actually does not want to be married by a farmer since she
belongs to a royal family. This custom is in line with the custom in East Nusa Tenggara that people from higher social class are more respected than those from
the lower class Proyek Inventarisasi dan Dokumentasi Kebudayaan Daerah Indonesia 1983
Clothes and fabrics are specially mentioned in one of the folktales entitled The Sad Tale of Ina Materia.
In the narrative, the special cloth is given by the father in law as a symbol of devotion to one another. Widiyatmika et all mention that
clothes are used as dowry 1983: 23. In the folktale, the main character cannot see the motifs of the clothes since it falls into the mud. The motifs of the clothes are
special. Kotens et all mention about the symbolical meanings behind the motifs of the clothes in East Sumba 1990: 39. This denotes that the motifs become a
significant aspect to mention in the folktale. The significance resembles to the actual discourse outside the folktale.
4.3.2. Intertextuality with Other Tales
This section presents the depictions of similar topics and ideologies from other stories and tales. The discussion is an example of the study of intertextuality.
The purpose of the discussion is to find resemblances or ideological similarities from other stories and folktales. Similar ideological depiction might present the
practice of the ideologies from different cultures.
The ideology about submissiveness to customs become a topic in some other tales. One of Balinese stories retold by Mason 2001 also presents the topic.
The story is entitled The Rajah who Lost his Head. It is about a king who lost his head because he has a strange belief according to the society. He wants to pet a wild
monkey. Eventually the monkey accidentally killed the king. In the end of the story, the custom of the people is mentioned that it is better for everyone that wild animals
belong in the wild. The king faces an unfortunate fate because he ignores the custom. Carpenter 1973: 175-180 tells a story entitled The Village of the Pure
Queen. The story is about a wise and kind Queen. The story becomes a legend of a
place. The story is related to the characteristics of particular social class. The society expects particular characteristics for the ones belonging to the royal family. This
story is similar to the folktale entitled Siti Fari and Empu Rencak in which Siti Fari belongs to the royal family.
The ideology about dependency on supernatural beings also has counterparts from other cultures. The existence of fairies and supernatural beings
become a popular in children stories. McKissack 1992 writes a compilation books of supernatural stories. In the book there are ten stories related to supernatural
events. One of the tales is entitled The Sight. The story is built up from the topic that human is powerless before the supernatural power. The main character of the
story might have sights and visions about future. He cannot control what he might see. In the end of the story he almost gets into fire because he cannot control the
vision and thought that his family is inside a burning house. This story depicts the opposition between human beings and supernatural beings. Human is depicted
powerless before the supernatural power.
