scholarly journals NILAI-NILAI KEHIDUPAN PADA NOVEL MOGA BUNDA DISAYANG ALLAH KARYA TERE LIYE

2017 ◽  
Vol 1 (1) ◽  
pp. 89-100
Author(s):  
Lozi Septiana ◽  
Yayah Chanafiah ◽  
Amril Canrhas
Keyword(s):  
Research Problem ◽  
Value Of Life ◽  
Research Data ◽  
Point Of View ◽  
Research Approach ◽  
The Novel ◽  
Main Character ◽  
Story Line ◽  
Story Character ◽  
The One

This study aims to determine the values of life contained in the novel Moga Bunda Disayang Allah by Tere Liye. The formulation of this research problem is how the value of life contained in the novel Moga Bunda Disukai Allah by Tere Liye. The method used is descriptive. The research approach used in this study is an objective approach, focusing on intrinsic analysis. The source of this research data is the novel Moga Bunda Disayang Allah Tere Liye's work with data taken in the form of texts from the story line, theme and story, character and characterization , Point of view, the novel style of Moga Mother Dear Mother God by Tere Liye.Research Results Values of life contained in the novel Moga Mother Dear God is, judging from the main character of Bunda HK who is very fond of his disabled son and he endlessly fight against the disease Melati. Rough corals in caring for Jasmine, ugly physical but noble heart. Mr. HK is rich but inhuman, misjudging someone from his physical appearance, it turns out HK is wrong. The reef that was ostracized because of his appearance turned out to be the one who saved his daughter. Judging from the depressed Melati characters, the prestation with its limitations, suddenly can pray for Mother "met bobo Mother. Moga Mother Dear God".

scholarly journals Representasi Feminisme dalam Novel Nayla Karya D.Jenar Maesa Ayu

ATAVISME ◽  
2009 ◽  
Vol 12 (2) ◽  
pp. 127-136
Author(s):  
Agung Pramujiono
Keyword(s):  
Key Words ◽  
Research Data ◽  
Professional Women ◽  
Radical Feminism ◽  
Female Character ◽  
The Novel ◽  
Main Character ◽  
Female Characters ◽  
The One ◽  
Women Rights

Penelitian ini bertujuan mendeskripsikan secara objektif representasi feminisme dalam novel Nayla karya Djenar Maesa Ayu. Data penelitian adalah perataan, perbuatan, dan peristiwa yang dialami oleh tokoh utama, Sumber data penelitian adalah novel Nayla karya Djenar Maesa Ayu edisi kedua yang diterbitkan oleh Gramedia pada tahun 2005. Data dikumpulkan mclalui teknik dokumentasi dan dianalisis secara deskriptif. Berdasarkan analisis data, dapat disimpulkan bahwa Nayla adalah sebuah novel dengan pengarang yang secara sadar ingin memperjuangkan hak-hak perempuan, terutama yang berkaitan dengan seksualitas. Tokoh pcrempuan dalam Naylai adalab seorang perempuan superior, bukan inferior, seorang perempuan yang 'mendominasi' laki-laki, bukan yang 'didominasi' oleh laki-laki. Pengarang juga berusaha untuk mengangkat posisi perempuan dengan menghadirkan seorang karakter perempuan yang menemukan kesadaran akan eksistensi diri, menyadari makna kebidupan dan hidup. Para tokohnya adalah perempuan- perempuan profesional yang bahkan dapat disejajarkan dengan para laki-laki. Mereka adalah tokoh perempuan yang jarang mengurusi urusan rumah tangga Terkait dengan seksualitas, sang tokoh (si pengarang) berpendapat bahwa perempuan tidak selayaknya diperlakukan sebagai objek semata, retapi seharusnya juga memiliki kesempatan untuk bersenang-senang dan disenangkan. Abstract: This research aims to describe objectively the representation of feminism in the novel Nayla by Djenar Maesa Ayu. The research data are speeches, actions, and happenings experienced by the main character. The source of the data was the novel Nayla by Djenar Maesa Ayu second edition published by Gramedia in 2005. The data were collected through documentation technique and analyzed descriptively. Based on the analysis of the data, it could be concluded that Nayla was a novel whose author consciously wished to struggle for women rights, especially those related to sexualities. The female character in Nayla is a superior woman, not an inferior one; a female who 'dominates' males, not the one who 'is dominated' by males. 'The author also strives to raise women's positions by presenting a female character who has found a consciousness of self-existence, realized the meanings of life and living. The characters are professional women who can even be equalized with men. 'They are female characters who seldom take care of domestic households. Related to sexualities, the character (the author) has the opinion that women should not have been treated as objects only, but should also have been given opportunities to enjoy themselves and to be spoiled. Key Words: representation of feminism, radical feminism

KONSEP DIRI “ I “ DAN “ME” TOKOH HIROKO DALAM NOVEL NAMAKU HIROKO KARYA NH.DINI

2012 ◽  
Vol 5 (2) ◽  
pp. 109
Author(s):  
Besin Gaspar
Keyword(s):  
Point Of View ◽  
The Other ◽  
Self Concept ◽  
The Novel ◽  
Main Character ◽  
Fictional Character ◽  
Social Customs ◽  
The Social ◽  
The Village ◽  
The City

This research deals with the development of  self concept of Hiroko as the main character in Namaku Hiroko by Nh. Dini and tries to identify how Hiroko is portrayed in the story, how she interacts with other characters and whether she is portrayed as a character dominated by ”I” element or  ”Me”  element seen  from sociological and cultural point of view. As a qualitative research in nature, the source of data in this research is the novel Namaku Hiroko (1967) and the data ara analyzed and presented deductively. The result of this analysis shows that in the novel, Hiroko as a fictional character is  portrayed as a girl whose personality  develops and changes drastically from ”Me”  to ”I”. When she was still in the village  l iving with her parents, she was portrayed as a obedient girl who was loyal to the parents, polite and acted in accordance with the social customs. In short, her personality was dominated by ”Me”  self concept. On the other hand, when she moved to the city (Kyoto), she was portrayed as a wild girl  no longer controlled by the social customs. She was  firm and determined totake decisions of  her won  for her future without considering what other people would say about her. She did not want to be treated as object. To put it in another way, her personality is more dominated by the ”I” self concept.

Tanggapan dan Horizon Harapan Pembaca terhadap Le Petit Prince Karya A. De Saint-Exupery: Tinjauan Resepsi Sastra

Metahumaniora ◽  
2018 ◽  
Vol 8 (3) ◽  
pp. 300
Author(s):  
Tania Intan ◽  
Trisna Gumilar
Keyword(s):  
Research Data ◽  
Point Of View ◽  
Data Sources ◽  
The Internet ◽  
The Novel ◽  
Literary Reading ◽  
Reading Experience ◽  
Reader Responses ◽  
Qualitative Descriptive ◽  
Research Type

AbstrakPenelitian ini bertujuan untuk (1) mendekripsikan tanggapan pembaca terhadap novel Le Petit Prince (2) mendeskripsikan horizon harapan pembaca terhadap novel Le Petit Prince, dan (3) mendeskripsikan faktor-faktor penyebab perbedaan tanggapan dan horizon harapan pembaca. Penelitian ini termasuk jenis penelitian deskriptif kualitatif. Data penelitian berupa teks yang memuat tanggapan pembaca novel Le Petit Princeyang terdiri dari 20 orang, sedangkan sumber datanya berupa artikel dan makalah yang dimuat di media massa cetak dan elektronik termasuk internet. Instrumen penelitian berupa seperangkat konsep tentang pembaca, tanggapan pembaca, dan horizon harapan. Teknik pengumpulan data dengan cara observasi dan data dianalisis dengan menggunakan teknik deskriptif kualitatif. Hasil penelitian yang didapat sebagai berikut. (1) Seluruh pembaca menanggapi atau menilai positif unsur tema, alur, tokoh, latar, sudut pandang, gaya bahasa, teknik penceritaan, bahasa, dan isi novel Le Petit Prince. (2) Harapan sebagian besar pembaca sebelum membaca novel Le Petit Prince sesuai dengan kenyataan ke sembilan unsur di dalam novel Le Petit Prince, sehingga pembaca dapat dengan mudah menerima dan memberikan pujian pada novel Le Petit Prince. (3) Faktor penyebab perbedaan tanggapan dan horizon harapan pembaca selain perbedaan stressing unsur yang ditanggapi juga karena perbedaan pengetahuan tentang sastra, pengetahuan tentang kehidupan, dan pengalaman membaca karya sastra.Kata kunci: tanggapan pembaca, horizon harapan, Le Petit PrinceAbstractThis study aims to (1) describe reader’s responses to the novel Le Petit Prince (2) to describe the reader's expectations horizon of Le Petit Prince's novel, and (3) to describe the factors causing differences in responses and the horizon of readers' expectations. This research is a descriptive qualitative research type. The research data consist of a set of paragraphs that contains readers' responses to Le Petit Prince's novel, while the data sources are articles and papers published in print and electronic mass media including the internet. The research instruments are a set of reader concepts, reader responses, and expectations horizon. The technique of collecting data is observation and data are analyzed by using qualitative descriptive technique. The results obtained are as follow: (1) All readers respond and valuethe theme elements,plots, characters, background, point of view, language, titles, storytelling techniques, language, and extrinsic novel Le Petit Prince positively. (2) The expectations of most readers before reading Le Petit Prince's novels are in accordance with the nine facts in Le Petit Prince's novel, so readers can easily accept and give prise to Le Petit Prince's novel. (3) Factors causing differences in responses and horizon of readers' expectations other than the stressing differences of the elements being addressed also due to the differences in knowledge of literature, knowledge of life and literary reading experience. Keywords: readers responses, expectations horizon, Le Petit Prince

A STUDY ON HOW LONG AND SHORT SENTENCES SHOW THE STORY’S PACING IN ANTHONY HOROWITZ’S RAVEN’S GATE

JURNAL SPHOTA ◽  
2019 ◽  
Vol 11 (2) ◽  
pp. 22-31
Author(s):  
I Wayan Sidha Karya ◽  
Ida Bagus Adhika Mahardika
Keyword(s):  
Empirical Study ◽  
Harry Potter ◽  
Sentence Length ◽  
The Novel ◽  
Story Line ◽  
General Audience ◽  
Grammatical Form ◽  
Average Sentence ◽  
The One ◽  
The Impact

Long and short sentences affect the reader’s pace of reading story since they have to farce the complexity of the sentences and words used in it. In this study the impact of the use of long and short sentences on the pace of the story as implemented by Anthony Horowitz, a novelist, in his novel Raven’s Gate, is being explored. Especially the researchers looked at what types of long and short sentences were being used in the novel and how they were building up the story line and their effect on the pace of the story. A sentence with the length of up-to fourteen (14) words is considered to be short and the one over 14 words is considered to be long in spite its grammatical form, whether it is simple or complex. The criteria are based on empirical study as mentioned by Casi Newell in the AJE (American Journal Experts) retrieved from https://www.aje.com/en/arc/editing-tip-sentence-length/, that “the average sentence length in scientific manuscripts is 12-17 words,” with JK Rowling—the writer of Harry Potter—who can be considered to be representative of a modern English writer with a general audience, having the average of 12 words. For convenience we take the liberty of taking 14 words for the longest sort sentences and those which have 15 or more words are considered to be long sentences

scholarly journals On the Reflection of Naturalism in the Main Character in The Call of the Wild

2018 ◽  
Vol 8 (11) ◽  
pp. 1530
Author(s):  
Xiu Zeng
Keyword(s):  
American Literature ◽  
Jack London ◽  
The Novel ◽  
Main Character ◽  
Human Beings ◽  
Literary Naturalism ◽  
Artistic Creation ◽  
Fighting Spirit ◽  
The Will ◽  
The One

Jack London is one of the most outstanding and celebrated critical realists in American literature in the 20th century, he is well recognized in his artistic creation of literary works with the feature of naturalism. The Call of the Wild is one of his naturalistic works filled with adventure and fighting spirit. The main character of the novel is a dog named Buck. By concentrating on Buck's gradual reversion from a civilized pet to a primordial beast, Jack London demonstrates the power of heredity and environment in determining and shaping one’s mind and behaviors. Naturalists believe that mankind is the product of environment, the power of heredity and force of environment are greater than the will of human beings. It is not the strongest of the species that can survive, but the one most responsive to changes. Humans have to adapt themselves to the environment for survival. In The Call of the Wild, the principle of literary naturalism is mainly reflected in the effects of the hereditary and environmental factors on the fate of the main character, Buck.

scholarly journals Offervilje. Om ret og rimelighed blandt venner og fjender og om at komme og dømme levende og døde i Max Kestners film "I am Fiction"

2013 ◽  
Vol 28 (70) ◽  
Author(s):  
Louise Brix Jacobsen ◽  
Henrik Skov Nielsen ◽  
Rikke Andersen Kraglund
Keyword(s):  
Freedom Of Expression ◽  
Publishing House ◽  
The Other ◽  
The Novel ◽  
Main Character ◽  
Artistic Collaboration ◽  
Other Hand ◽  
The Dead ◽  
The One ◽  
Alleged Victim

Louise Brix Jacobsen, Rikke Andersen Kraglund & Henrik Skov Nielsen: “Selfsacrifice. On Right and Reasonableness among Foes and Friends, and on Judging the Living and the Dead in Max Kestner’s film I am Fiction”In 2011, the performance artist Thomas Skade-Rasmussen Strøbech lost a lawsuit against his former friend and collaborator Helge Bille Nielsen and the publishing house of Gyldendal. This led to a debate about copyright, freedom of expression, identity, and the line between fiction and reality. In 2008, Nielsen or Das Beckwerk published the novel The Sovereign where Strøbech – seemingly without his knowledge and apparently against his will – is the main character. About a year after losing the lawsuit Strøbech and film director Max Kestner gives his version of the events before, during, and after the trial in the film I am Fiction (Identitetstyveriet). This article analyzes I am fiction in order to show how the film on the one hand outlines Strøbech’s version of the events as a story about a victim but on the other hand undermines this version with humor and irony and points towards an artistic collaboration between alleged victim and villain.

scholarly journals ТРАНСФОРМАЦИЯ РОМАНТИЧЕСКИХ МОТИВОВ В РОМАНЕ ПАТРИКА ЗЮСКИНДА «ПАРФЮМЕР»

2019 ◽  
Vol 3 (93) ◽  
pp. 117-128
Author(s):  
С.Л. Лобзова
Keyword(s):  
Cultural Context ◽  
Point Of View ◽  
German Language ◽  
Main Function ◽  
The Novel ◽  
Main Character ◽  
Second Stage ◽  
Modern Novel ◽  
The Enlightenment ◽  
Romantic Hero

The article attempts to highlight the main romantic motifs that the modern German writer Patrick Süskind used in his novel Perfume: The Story of a Murderer. Symbolic for the contemporary cultural context figurative semantic constants (genius, loneliness, rejection, godlessness, etc.) are assigned to such motifs. The ways and means of rethinking romantic motifs in a modern novel are determined, the specifics of their transformation in a postmodern text is analyzed. The similarities between the work of Süskind and popular upbringing novels in the Enlightenment are noted: the main character of the modern German writer goes through the thorny path of formation, he improves his gift, thanks to which he hopes to change the world, subjugate other people to himself. The parody evangelical allusions that contribute to the deconstruction of the romantic figure of an unrecognized genius are analyzed. The postmodernist writer debunks and ridicules the hero, turning the imaginary king into a jester. Unlike the romantic hero, whose main function was to broadcast the divine will, Jean-Baptiste Grenouille refutes the truth of the Absolute by his existence and the ingenious gift inherent in him by nature. The article concludes that Süskind refers to a stable romantic model, implemented many times in literature and art, setting his own accents in his own way, bringing the romantic structure to its limit. This model goes through the second stage in its development, according to the Hegel’s triad, namely, the negation of negation, when any phenomenon turns into its opposite. Refuting the well-known Pushkin’s claim that “genius and villainy are two incompatible things”, the writer at the same time comes to the conclusion that evil, even without meeting a worthy opponent, is destructive to himself. We see further research prospects in the study of the novel in the context of the work of Süskind and modern German-language literature from the point of view of transforming the romantic tradition in the post-modern text.

scholarly journals A relational theory of effects and coeffects

2022 ◽  
Vol 6 (POPL) ◽  
pp. 1-28 ◽  
Author(s):  
Ugo Dal Lago ◽  
Francesco Gavazzo
Keyword(s):  
General Theory ◽  
Denotational Semantics ◽  
Relational Theory ◽  
Point Of View ◽  
Relational Reasoning ◽  
Combined Effects ◽  
The Novel ◽  
Relational Calculus ◽  
Standard Formalism ◽  
The One

Graded modal types systems and coeffects are becoming a standard formalism to deal with context-dependent, usage-sensitive computations, especially when combined with computational effects. From a semantic perspective, effectful and coeffectful languages have been studied mostly by means of denotational semantics and almost nothing has been done from the point of view of relational reasoning. This gap in the literature is quite surprising, since many cornerstone results — such as non-interference , metric preservation , and proof irrelevance — on concrete coeffects are inherently relational. In this paper, we fill this gap by developing a general theory and calculus of program relations for higher-order languages with combined effects and coeffects. The relational calculus builds upon the novel notion of a corelator (or comonadic lax extension ) to handle coeffects relationally. Inside such a calculus, we define three notions of effectful and coeffectful program refinements: contextual approximation , logical preorder , and applicative similarity . These are the first operationally-based notions of program refinement (and, consequently, equivalence) for languages with combined effects and coeffects appearing in the literature. We show that the axiomatics of a corelator (together with the one of a relator) is precisely what is needed to prove all the aforementioned program refinements to be precongruences, this way obtaining compositional relational techniques for reasoning about combined effects and coeffects.

The Noble Nest by I. S. Turgenev: Poetics of Costume

2021 ◽  
Vol 16 (1) ◽  
pp. 8-15
Author(s):  
Galina P. Kozubovskaya ◽  
Keyword(s):  
Point Of View ◽  
Literary Texts ◽  
Complex Nature ◽  
The Novel ◽  
Cultural Approach ◽  
Scientific Disciplines ◽  
Semiotic Approach ◽  
Split Point ◽  
Points Of View ◽  
The One

The costume which has recently become the focus of many scientific disciplines has hardly attracted literary critics: the methodology of its research in fiction is just beginning to take shape. The historical and cultural approach, which essentially boils down to a commentary has been replaced by a very productive structural and semiotic approach that deciphers the semantics and functions of the costume. The methodology of our research is of a complex nature, combining the structural-semiotic, mythopoetic, and motivic aspects of the analysis of literary texts. The narratological aspect in the study of costume poetics is emphasized, which, as a rule, remains outside the scope of research.The narratological aspect is aimed at identifying “flickering” meanings in the structure of the whole – “prose as poetry” (V. Schmid).The dynamics of costume descriptions, their functionality in the structure of the whole and the specifics in the organization of the narrative (taking into account the “point of view”, the motive given by costume details and based on semantic nodes that connect polar meanings, etc.) are at the center of our research.Thanks to costume inclusions, the text of the novel The Noble Nest becomes multidimensional. Thus, the characterological detail of Panshin – a screw-shaped Golden ring is situational and at the same time conceptual: it connects the “beginnings” and “ends” of his story, symbolically programming fate. Laconic sketches of Lavretsky’s clothing, scattered throughout the text, formalizing the opposition of one’s own/ another’s, prepare a motif of loneliness and homelessness. In layered narrative created by the play of the author’s and character’s points of view, Lavretsky’s point of view “migrates” to the author’s one replacing it (“poetic” sign of the optics of the hero) and then separates from it. The content of the method of crushing, which replaced the silhouette image, is an expression of the confusion of the soul, deforming the female image. The details in Lavretsky’s “split” point of view are ambiguous: on the one hand, there is alienation, on the other hand, there is a subconscious attraction to the beloved woman in the primary, unreflexed sense of a person losing happiness. The novel’s flickering meaning is created by semantic nodes that match polarities. “White” is the symbolic color of the national, rooted in the soil (the white caps of Marfa Timofeevna and Nastasya Karpovna), and at the same time the ghostly, impossible realization of happiness (the rhyming white dress of Lisa and the white dress on the portrait of Lavretsky’s mother). “Black” is also ambivalent: the elegant black silk dress of Varvara Pavlovna and the unnamed color of Lisa’s monastic clothes in the Epilogue. The scarf that Marfa Timofeevna knits is a mythologeme that encodes the story of love and failed happiness and at the same time the semantic core of the poetics of incompleteness. Keywords: costume, costume poetics, mythologeme, narrative, semantics, point of view

A paradigmatic approach to security sciences

2018 ◽  
Vol 32 (32) ◽  
pp. 118-130
Author(s):  
Janusz Gierszewski
Keyword(s):  
Research Problem ◽  
Point Of View ◽  
The Other ◽  
Short History ◽  
The One

T.S. Kuhn’s concept of paradigm differentiates between mature sciences and pre-paradigm sciences. In the case of the latter, it is possible for various approaches to compete with one another. Polish security sciences are currently occupied with seeking paradigms. On the one hand, this search may lead to a homogenisation of opinions within the discipline, or to opposing views on the other. This search is a consequence of evolving opinions within the field, which has a relatively short history in Poland, and constitutes an attempt at determining its defining features. This paper presents various approaches to the concept of paradigm posited by researchers of broadly-defined security, which, as a consequence, constitute evidence of security’s multi-paradigmaticality. The research problem is to answer the question of whether the approaches presented in this paper actually constitute the basis necessary to formulate a set of coherent scientific foundations of the discipline, as analysed from a paradigmatic point of view.

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