The purposeof this study are to find (1) the historical andsocial contexts contained in the critical humorous discourse of the response to covid-19, (2) thediversity of power that is opposed by the critical discourse of humor against the response to covid-19, and (3) ideology that is upheld by a critical discourse of humor against the response to covid-19.Basedon dominant discourse of overcoming covid-19 (corona virus disease-19) in Indonesia, which does not close to the emergence of all forms of discourse against it. The form of serious discourse against it is considered very dangerous for the makers and disseminators of it, because the right to freedom of opinion has not been properlygranted. Therefore, the form of humorous discourse is an alternative discourse against thedominant discourse developed by people to tackle Covid-19. As a form of critical discourse,humorous discourse is a social practice that always holds historical and social contexts, resistanceto power, and enforcement of certain ideologies. This research relies on the critical discourse analysis approach (critical discourse analysisapproach) as one of the models in qualitative research, by elaborating 4 approaches, namely thesocial cognition approach, the social change approach, the historical approach, and the French orideological approach. Data in the form of critical humorous discourse on the response to covid-19was collected through accessible social media (WhatsApp, Instagram, and Facebook). Data wereanalyzed using interpretive methods furhter. This research is expected to find concepts and propositions about (1) the historical andsocial context contained in the critical humorous discourse of the response to covid-19; (2) thediversity of power that is opposed by the critical discourse of humor against the response to covid-19; and (3) ideology that is upheld by a critical discourse of humor against the response to covid-19. These concepts and propositions can be used as the basis for improving government policy.

Abstrak Wangsalan adalah salah satu gaya bahasa dalam bahasa Jawa yang unik dan rumit. Keunikan tersebut dapat dilihat pada struktur dan cara pemroduksiannya. Struktur wangsalan terdiri atas sampiran dan isi. Sampiran wangsalan berwujud cangkriman. Isi wangsalan sendiri berupa pesan yang ingin disampaikan oleh penutur. Antara teka-teki dan isi wangsalan tidak mempunyai hubungan makna melainkan hanya hubungan bentuk. Hubungan bentuk tersebut terletak pada jawaban teka-teki dengan maksud wangsalan. Pemroduksian wangsalan rumit karena di dalamnya terdapat fenomena transposisi makna. Transposisi makna dalam wangsalan terjadi pada makna denotatif dengan makna asosiatif. Transposisi makna adalah upaya untuk menghubungkan perbedaan bentuk lingual dengan maksud penutur. Akibatnya keberpisahan dan ketaksinambungan bentuk dapat bertemu. Maka dari itu alat penghubung untuk mempertemukan perbedaan itu adalah piranti emotif. Piranti emotif tersebut sebagai penghubung antara teka-teki dengan maksud dan isi wangsalan. Piranti emotif tersebut ada tiga yaitu fonetik, leksikal dan sintaksis. Ketiga piranti tersebut dapat dijadikan prinsip untuk memproduksi wangsalan. Berdasarkan pembahasan tersebut sumbangan terhadap pembelajaran tentang materi wangsalan adalah bahwa wangsalan tidak hanya ditalikan oleh bunyi saja namun juga kata. Wangsalan bukan termasuk metafora karena antara batangan dengan isi wangsalan tidak mempunyai hubungan makna dengan ciri-ciri yang dimaksudkan. Hubungan tersebut sebatas pertalian bentuk dan makna layaknya pantun atau parikan.   Kata kunci: piranti emotif; transposisi makna; wangsalan

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Wangsalan is one of the unique and complex language styles in Javanese language. The uniqueness of wangsalan can be seen from its structure and way of producing. The structure of wangsalan consists of bebuka or opening and content. The opening of wangsalan is in the form of cangkriman or riddle while the content contains a message from the speaker. There is no relationship of meaning between riddle and content, except for its relationship of form. Relationship of form lies on the answers of the riddle and the content of wangsalan. The production of wangsalan is complex because of the transposition of meaning it has. Transposition of meaning in wangsalan occurs in denotative along with associative meaning. By definition, transposition of meaning is a way of connecting the differences of the lingual form and the speaker's intentions. Consequently, the separation and the irrelevancy of form attempt to occur. Thus, to connect those differences, there is a tool called emotive device, which can link the riddle with the meaning and content of wangsalan. Emotive device is classified into three parts, namely phonetic, lexical, and syntax. All those three parts can be used as a principle to produce wangsalan. The significance of the study of wangsalan is that it is not only connected by sounds but also words. Wangsalan is not included as metaphor since there is no relationship of meaning between batangan and the content of wangsalan, except for its form as in pantun or parikan.