Rima Firdaus*
The dialectic between social reality and creative imagination is tangibly realised through fictional narratives as a discursive medium of society [1, 2, 3] (Eagleton, 1979; Alvarez, 1992; Ricoeur, 2016). Fictional narratives, particularly short stories and novels, do not merely serve an artistic function [4] (Nurgiyantoro, 2018). Furthermore, short stories and novels, as cultural texts, contain symbolic meanings, myths, and socio-cultural representations [5, 6, 7, 8] (Uso et al., 2024; Nygren, 1998; Saho and Rath, 2022; Zharylgapov et al., 2023). In this context, literary works often serve as a space for dialectic between tradition and modernity, local wisdom and global influences, as well as dominant ideologies and marginalised voices [9,10, 11,12] (Anttonen, 2005; Mignolo, 2012; Fajar, 2017; Omodan, 2024; ).
The effectiveness of fictional narratives in conveying messages depends heavily on the use of symbols and myths. Symbols and myths shape fictional narratives to convey meaning [13, 5] (Bidney, 1955; Uso et al., 2024). Symbols, born of cultural codes, and myths function as collective narratives that naturalize values, ideologies and power structures [14, 15] (Geertz, 1972; Geisler, 2005). Both represent gender relations, class struggles, identity and discourse. Thus, the examination of symbols, myths and socio-cultural representations in Indonesian literary works is undertaken to understand how the social reality of literature is reflected, critiqued or even re-structured as social reality. Myths about animals are seen as something out of the ordinary; they blur the boundaries between reality and imagination. Naturally, within a society, myths are interpreted differently due to their close connection to people’s perceptions.
One work that exemplifies this animal symbolic complexity is the short story The Man Who Married a Pig by Masdar Zainal [16] (2018). The use of the word 'pig' as a central symbol—particularly through the motif of marriage between a human and an animal, which remains a taboo subject—constitutes a kind of narrative anomaly that is fascinating to examine. The phenomenon of the female pig becoming mysteriously pregnant not only represents an element of strangeness but also serves as a representation of the dramatic changes that disrupt the social order of the main character. Apart from pigs, chickens are another animal that features in the story. Through a semiotic approach, the interactions between symbols in this short story can be examined to reveal the ideological dimensions and the construction of meaning hidden behind a narrative that appears strange and illogical. Thus, semiotic analysis can uncover profound symbolic dimensions and offer a new perspective on this short story.
In the study conducted by Sarijati and Lissandi [17] (2020) on male mimesis in the work The Man Who Married a Pig, the focus was on the social phenomenon occurring within society as symptoms of religious blindness. Religious fanaticism was a social phenomenon prevalent at the time, causing every social group to feel they were the most righteous among the others. Although employing Barthes's approach, Sarijati and Lissandi [17] (2020) predominantly utilized analysis of the syntagmatic, paradigmatic, and discursive aspects. This indicates a significant difference, as I utilized Barthes's approach primarily in relation to myths and symbols
Although the study of Indonesian literature has developed rapidly, previous research has remained focused solely on paradigmatic and syntactic aspects. There remains a research gap in the systematic examination of the interrelationship between symbols, myths and socio-cultural representations as both semiotic and cultural constructs within contemporary fictional narratives. This research gap highlights the need for a more in-depth analysis of the relationship between narrative form, symbolic structure, and cultural ideology.
Accordingly, this study aims to examine the interplay of symbols, myths and socio-cultural representations in Indonesian fictional narratives. It is hoped that this study will reveal how animals serve as symbolic representations of social reality in digital Indonesian short stories. Furthermore, Indonesian literary works articulate cultural identity, negotiate social tensions, and engage in broader discourses on power, ideology, and representation, while also participating in even wider discourses on power.
METHOD
This study employs a qualitative descriptive approach. The data in this study consist of linguistic units—including words, phrases and sentences—as well as narrative units in the short story The Man Who Marries a Pig by Masdhar Zainal, which contains symbolic and cultural elements. Data collection was carried out through in-depth heuristic and hermeneutic close reading. Data analysis focuses on deconstructing the system of signs to uncover the meaning behind the apparent (textual) narrative structure, leading to the hidden (contextual) meaning. The analysis in this study utilizes Roland Barthes's semiotic theory, which views the text as a complex and polysemic system of signs. Barthes introduced the semiotic stages of denotation and connotation [18] (Barthes, 2012). The stage of connotation, or myth, is an ideological mechanism that naturalizes cultural concepts as natural truths.
In the short story The Man Who Married a Pig [16] (Zainal, 2018) the analysis will focus on how signs—such as the symbol of the pig and taboo behavior—function as a signifying system that represents a particular ideology. Furthermore, this study utilizes Barthes' five codes of reading to dissect how the narrative is constructed and how social values are reflected upon and critiqued. Barthes' emphasis on signs that are not autonomous, but interact with the reader's cultural and historical context. Through this lens, elements such as metaphors concerning the mating of humans and animals are viewed not merely as plot oddities, but as sites of contestation over meaning. This semiotic analysis aims to lift the veil of interpretation to unpack the complexity of the short story, revealing how signs create narratives that challenge normality, while representing Indonesia's socio-cultural reality in greater depth.
The Symbol and The Body of the Pig as Decontruction of Morality
Symbols as a mechanism for producing meaning within the narrative of the short story The Man Who Married a Pig. In this short story, the pig serves as the primary metaphorical symbol, relating to the central characters—naming the neighbors and the local community. The pig, as a symbol in the story, rushes into the yard and crashes into the stairs, spinning round and round until it is dizzy. When attempts are made to chase and catch it, the pig offers no resistance. Unlike pigs in general, which tend to run away if caught, this pig has deliberately chosen to be kept as a pet.
In the real world, pigs are pink, four-legged animals. However, there are also black and gray pigs, often referred to as wild boars [19] (Semiadi and Meijaard, 2024). Pigs spend most of their time in mudpools and will eat almost anything. In various works of literature, pigs are described as laid-back animals that mostly stay put in their pens. Pigs are not the kind of animals that wander about like ducks and chickens; they tend to be stocky, plump and squat due to their short legs [20, 21, 22] (Seftian, 2021; Wahyuni, 2022; Kasimbara, 2026) . In the short story, a pig is placed in a chicken coop; the presence of the pig in the chicken coop creates a strong sense of anomaly due to the striking size disparity between the two species. The chicken coop is also designed to be smaller than the pigsty, which is more open. The difference between pigs and chickens is evident in the size and type of coop; Chickens require a warm space inside the coop to incubate their eggs until they hatch. However, pigs have the opposite requirement; they need a larger space because they require mud to relax in.
Unlike the instinctual behavior of animals, which tends to flee when threatened, the pig in the narrative actually displays intentional agency. Its presence is depicted as a conscious choice to approach the protagonist, who voluntarily places himself in a domestic relationship. The pig's lack of fear functions as a non-natural sign that shifts the pig's status from an animal object to a symbolic subject, triggering absurd events within the text. Placing the pig inside a chicken coop creates a striking spatial disproportion. The protagonist's attempt to unite the chickens and the pig within this cramped space reflects a forced normalisation. In this context, the chicken coop becomes a kind of symbol of an inadequate domestic space. This underscores the incongruity between the protagonist's domestication ambitions and the unusual physical reality of the animal. Thus, the pig's existence in the chicken coop reveals a physical disparity that is out of balance. The chicken coop serves as a metaphor for the limitations of social space in accepting the presence of the alien pig.
The transformation of the kitchen space into a shared domestic area creates a heterotopia where pigs and chickens coexist in an unusual harmony. The description of the gray, plump pig serves as a marker of biological prosperity. Psychosemiotically, the presence of this pig alleviates stress in the chickens, which is then converted into economic value through increased egg-laying frequency and success in betting rings. This phenomenon reveals an anomaly that paradoxically produces a synergistic effect on livestock productivity. The pig alludes to an unusual freedom by demonstrating a readiness to coexist with humans. Thus, such behavior reflects a behavioral decadence that leads to individual psychological pathology. Philosophically, although humans and animals are biological beings, reason is the primary distinction that separates humans from the dominance of instinct alone. Ultimately, there will always be a difference between humans and animals.
The mother figure's provocative suggestion that the protagonist marries a pig reflects the destructive impact of the hegemony of authority, which stifles individual autonomy. This repressive practice of subordination results in the subject becoming accredited to rely on the decisions of external authorities, without the ability to independently evaluate moral consequences. Indeed, this social critique manifests as a narrative anomaly: the birth of eight piglets without any other boar. Implicitly referring to the main character as the sole masculine subject, this satirical metaphor describes the erosion of human dignity resulting from a failure to embrace a liberated upbringing.
The loss of ethics and humanitarian knowledge on the part of the protagonist leads his neighbors to call him a pig. The erosion of ethical values and the degradation of human dignity in the protagonist triggers dehumanizing actions by society, with neighbors labeling him a 'pig'. The act of marrying an animal constitutes an ethical violation that undermines the essence of humanity as rational beings. This constructs a narrative of deviance from the norm leading to ostracism, where in the protagonist's presence is perceived as a moral threat causing deep anxiety within the community.
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Signifer PIG |
Signified fat, black animals that live in an unhygienic way |
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Denotative Sign Animals that live in a dirty and impure way |
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Connotative Signifier Pigs kept at home |
Connotative Signified Deviation is a bad and anomalous behavior of an individual. |
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Connotative Sign Manifestations of abjection that trigger collective anxiety, social stigmatization, and prejudice that arise from clashes with societal cultural norms. |
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Tabel 1. Barthes' mechanism on the Pig symbol
This reveals a layered significance that links biological reality with socio-cultural constructs. At the denotative level, the pig functions as a signifier referring to a signified—an animal entity that is plump, black, and possesses a lifestyle considered unhygienic—providing a straightforward descriptive understanding of the physical object within the text. However, at the connotative level, the domestication of the pig within the private sphere (the home) transforms into a signifier of moral transgression and ethical degradation of an anomalous nature. This connotative sign reflects a deviation from fundamental norms through the narrative of an interspecies marriage, which triggers a reaction of social ostracism in which the subject is viewed as a profane entity or a curse that must be eliminated. The presence of the pig ultimately creates a collective atmosphere of anxiety characterized by public fear and unease, demonstrating that, within Barthes's [18] (2012) mythical system, the pig has shifted in meaning from merely an animal object to a symbol of a threat to the social order, sanctity, and stability of society.
The Coop and the Chicken in the Representation of Class and Social Inferiority
The chicken in the short story The Man Who Married a Pig serves as a metaphorical symbol that illustrates the depth of the main character's personality and his entanglement in the circumstances of his life. Chickens represent domesticated moral banality [23, 24] (Davis, 2010; Yusuf, 2024). Just as the chicken is confined within a cooperative, the main character is also restricted within the boundaries of his life, reflecting the limitations of his faces. On a deeper level, the chicken reflects the protagonist's inability to meet the hopes and expectations of his mother and the community around him. The coop, as a key element in the story, serves as a symbol of imprisonment and dependence. The house, which was once a comfortable home for the main character, has turned into a cage, creating boundaries that trap him. This can be interpreted as the constraints imposed on the character by societal norms. The cage, of course, shapes a certain perception of the routine and limitations inherent to the main character. This signifies that his life is filled with constraints that are difficult to escape.
A coop is defined as an enclosed structure used for confining or rearing animals (pigs and chickens) [26] (Tennessen, 1989). In the text, it is a physical representation of a squalid environment that blends into the main character's domestic space. The coop in the short story The Man Who Married a Pig can also be interpreted as a symbol of dependence. Although the main character may feel comfortable and protected within the cooperative, this can limit his growth and development in interacting with other villagers. The cooperative creates a comfort zone that is difficult to leave, indicating a dependence on a situation or habit that may not provide the main character with the greatest benefit.
On a deeper level, the interaction between the chicken and the pig in this short story can be seen as an analogy for the main character's life. The unusual presence of a pig within the chicken coop creates a situation that represents the complex challenges of life. The pig, as an unusual element, can be interpreted as a symbol of events or people that draw the main character into situations beyond his usual routine. This suggests that the main character's life is full of complex dynamics and challenges that require adaptation. Thus, the cooperation and the interaction between the chickens and the pigs not only reflect physical constraints but also create layers of meaning that depict the dependencies and complexities within the main character's life.
At the denotative level in Barthes [17] (2012), the image or visual representation of a chicken serves as a clear signifier. Its denotative signified is the chicken as a two-legged, feathered animal with a beak. Analysis at this level provides a direct and descriptive understanding of the physical object, defining the chicken specifically as an entity possessing the characteristic features of that animal.
However, on a connotative level, an additional meaning emerges. The chicken, which is kept and lives in a cage, becomes a connotative signifier, symbolizing the main character's self-imposed limitations in achieving their aspirations. The cage, as the connotative signified, is not merely a physical barrier but also a symbol of the constraints and obstacles that limit the main character's freedom and potential. Connotative signs depict the impact involving socio-cultural conditions. The more demands from others represented by the chicken and the coop, the more the burden and pressure are felt, causing the main character to become depressed and overwhelmed. On a connotative level, the chicken and the coop do not merely reflect physical limitations, but also express the psychological pressure arising from social demands. The analogy between the cooperative as a representation of the main character's life and the feeling of being constrained by external pressures becomes powerful, illustrating the complexity of the main character's experiences and challenges in living their life. The cooperative as a microcosm—that is, as a small world that rejects the macro-norms of society—becomes a representation of the central character's freedom through an atmosphere of deviant animality.
Denotative Representation When Home as a Fragmented Physical Space
The main character's house in the short story The Man Who Married a Pig is not merely a physical structure, but a symbol that represents a life of isolation and neglect. The house, in its messy state and inhabited by various pets, creates an image of indifference and neglect towards the surrounding environment. The squalid and neglected condition of the house reflects the main character's inability to look after himself and manage his life properly.
The negative reactions of neighbors who keep their distance or regard the main character as odd only serve to reinforce the sense of isolation and alienation he experiences. The neglected house is not merely a physical manifestation of a neglected life, but also serves as a metaphor for the main character's life as a whole. The state of the house, which reflects loneliness and a lack of understanding of the surrounding world, serves as a portrait depicting a meaningless social and emotional life.
The atmosphere of emptiness and emotional void created within the house lends a profound layer of meaning to the main character's social and emotional state. The dilapidated and neglected house serves as a symbol of pain, tragedy, alienation and neglect in the short story. This provides a deeper understanding of the main character's alienation, the lack of healthy interpersonal relationships, and the emptiness that pervades his life as a whole.
At the denotative level, the analysis highlights the direct relationship between images or visual representations of a house and the fact that a house is a building that serves as a dwelling. This presents an objective and descriptive denotative definition of a house as a physical structure for human life.
Meanwhile, a deeper analysis at the connotative level offers a richer understanding of the meaning of a house. More than just a physical dwelling, a house is interpreted as a symbol of security, comfort and intimacy. The connotative signifier highlights the house as the most comfortable place for humans, while the connotative signified illustrations that within the house, various rooms serve as a stage for the creation of feelings of happiness, togetherness and familiarity. Within social classes, the house acts as a marker of an individual's social identity.
With regard to the character and habits of its inhabitants, connotative signs reveal that a home is not merely a physical dwelling, but also serves as a mirror of its inhabitants' personalities and behavior. The cleanliness or untidiness of a home can be interpreted as an indicator of the nature and preferences of its inhabitants. In this context, the home becomes a sign or indicator that provides in-depth information about the characteristics and lifestyle of its inhabitants. Thus, through this analysis, the concept of a home is not merely defined physically as a dwelling, but also carries connotative meaning involving emotional and social aspects. A home becomes more than just a place with walls and a roof it becomes a symbol that reflects the characteristics, feelings, and preferences of those who inhabit it.
Metamorphosis of Myth as Social Fact and Moral Satire
Public perceptions and prejudices in this short story open the door to a deeper understanding of the complexities of social interaction. This narrative explores the tension between the protagonist, who embraces abnormality (the pig), and a society that demands conformity. Initially, the neighbors' relationship with the protagonist is transactional and apathetic; they only visit to buy free-range eggs, paying no heed to the protagonist's account of the female pig's uniqueness.
"That's right. Of course, it's impossible for a sow to mate with a rooster, let alone mate with herself."
"Then it's clear who the father of those little pigs is." "Who?"
"The other pig in the house!"
(Zainal, 2018)
This short story explores how indifferent the neighbors were towards the man following his mother's passing; they only visited him occasionally when they wanted to buy free-range eggs. Although the man spoke enthusiastically about the sow—whom he regarded as a gift from God—and how his unique qualities encouraged the hens to lay eggs diligently, the neighbors remained cold and showed no interest in listening to him. They came with only one purpose: to buy eggs, while the man's thoughts and stories were ignored.
Then, the atmosphere changed dramatically when strange rumors about a sow nursing eight piglets spread throughout the village. This phenomenon sparked unexpected questions and ridicule, causing a stir among the neighbours. Speculation arose that it was impossible for the sow to have become pregnant and given birth to her own, leading to the controversial assumption that the 'other pig' the villagers referred to was the man living alone in the house. This speculation became the talk of the entire village. The villagers suspected an unusual relationship between the man and the sow, fueling gossip and prejudice that further heated the atmosphere in the village.
The denotation of this story reveals the physical facts and events that occurred literally, providing a concrete picture of the life of the man living with his mother, raising chickens and pigs, as well as the intriguing event of the sow nursing eight piglets. This denotation draws the reader into the narrative's reality, creating a picture of everyday life that is observable and recognisable.
However, on the other hand, the connotations of this story introduce deeper and more complex meanings, imbuing the narrative with emotional and psychological resonance. For example, a sow nursing eight piglets without the presence of a boar in the house can be interpreted as a symbol of extraordinary events beyond one's control. This situation creates tension and confusion among the neighbors. Ultimately, the myth operates effectively regarding the residents' speculation, which initially took the form of conjecture but was transformed into a 'social fact'. This prejudice demonstrates just how fluid meaning is in social interaction; the absence of a biological father for the piglets is filled by the residents with a scapegoat—a black goat or a black pig—to rationalize the incomprehensible. Through semiotic mechanisms, this short story critiques the hypocrisy of a society more preoccupied with judging others' morality through gossip than by understanding the essence of humanity itself. This highlights the satire of the norms that develop and thrive within society—a society that constantly projects perceptions and stigmas onto the lives of others.
Grotesque Aesthetics and Illogicality in Masdar Zainal’s Work
A jug is generally used as a container for water and usually has a spout or spouts through which the water is poured [26] (Knappet, 2025). However, this differs from the illustration in the short story, which depicts a jug with two spouts. Hadi Soesanto's illustration, depicting a teapot with two spouts or branches, offers a profound insight into the complexity of the main character's life in the short story. This visualization is not merely an image, but a symbol of duality that illustrates the fundamental conflict between freedom and attachment, as well as the disparity between hope and reality. The image creates symbolism that goes beyond mere visual representation; Rather, it reflects the main character's changes and transformations throughout the narrative. The two branches of the teapot create a concept of significant change, highlighting the character's journey in facing challenges and navigating a complex life. The presence of the two ends reflects the character's evolving dynamics over time.
Picture 1. Ilustration of Hadi Susanto for The Man Who Married a Pig
The presence of the two-pronged kettle is not merely a domestic background element, but rather a sign that has undergone a dislocation of meaning. Denotatively, the kettle is a functional kitchen artifact; however, connotatively, the forked spout transforms the object into one that alludes to a myth concerning the dysfunction of life. As a signifier, this defective kettle severs the reader's connection with the symbol of Javanese family warmth that is usually attached to the object. Thus, the author consciously distorts an everyday object to emphasize the psychological fracture of the main character, who has crossed the boundaries of normality through his marriage to a pig.
The importance of multiple perspectives or different viewpoints is also reflected in this image. Two intertwined endings reflect the complexity of the decisions and choices faced by the main character. This not only creates internal tension but also represents the dynamics of life, which is full of ambivalence. This image not only highlights conflict and contrast but also embraces the symbolism of interconnectedness and interdependence between two seemingly contradictory elements. This illustration presents a visual narrative of the complex and mutually influential relationships in the main character's life. As the kettle myth becomes a dysfunction of life, a myth is intended to normalize an abnormal state. That marriage to a pig is not madness. The kettle is not merely a tool but a mediator between the human world and the animal world.
The interpretation of this illustration is dynamic, allowing each reader to offer a different interpretation based on their individual experiences and perspectives. Furthermore, the transformation of the teapot functions as a mechanism for the naturalization of myth within the grotesque aesthetic. Through this semiotic process, Masdar Zainal no longer presents madness as something alien, but rather integrates it into the private sphere as something that is naturally present. The branching of the teapot serves as an anchoring point that compels the reader to acknowledge that the character's domestic order has been permanently fragmented. From Barthes's [18] (2012) perspective, this is an attempt to dismantle the myth of the ideal family: when inanimate objects lose their primary function, the social reality constructed within the short story becomes a broken system of signs, where the boundaries between function and dysfunction, and between the human and the animal, have completely dissolved.
CONCLUSION
The symbolism of the pig, the chicken, the coop, the house and the kettle serves as a richly meaningful element, creating layers of symbolic interpretation of the main character. The interconnection between these symbols creates a narrative that depicts tension, limitations, and entanglement in everyday life. The main character's home is no longer merely defined denotatively as a physical dwelling, but transforms into a connotative symbol reflecting emotional isolation and social meaninglessness. The squalid, cluttered state of the house, along with the presence of deviant domestic artefacts such as the two-pronged kettle, serves as profound indicators of the inhabitant's alienation from communal norms. Societal reflections and prejudices illustrate how the main character faces judgment and speculation from neighbors. Gossip and prejudice create a tense, chaotic, and tumultuous atmosphere within the community, thereby demonstrating resistance to highly abnormal differences and the courage to embrace one's uniqueness.
Hadi Soesanto's illustration of the 'ceret blirik' enriches our symbolic and visual understanding of the complexity of the main character's life. The symbolism in the illustration reflects duality, conflict, and ever-evolving dynamics. Overall, the short story The Man Who Married a Pig offers a profound reflection on human life, the conflict between social norms and individual uniqueness, and the complexity of social interactions within society
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10.5281/zenodo.19754168