Self-understanding through communication with heterogeneous stranger - Based on the main character ‘I’ of the novel

2020 ◽  
Vol 56 ◽  
pp. 193-221
Author(s):  
Junggoo Bae
Keyword(s):  
The Novel ◽  
Main Character

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.

Hubungan Intertekstual Novel Candra Kirana dan “Tjerita Panji Angreni”: Perspektif Riffaterre

ATAVISME ◽  
2020 ◽  
Vol 23 (1) ◽  
pp. 104-116
Author(s):  
Muhammad Rosyid H.W.
Keyword(s):  
Content Analysis ◽  
Gender Equality ◽  
The Novel ◽  
Main Character ◽  
The People

Penelitian ini bertujuan membahas hubungan intertekstual novel Candra Kirana karya Ajip Rosidi dengan "Tjerita Panji Angreni". Unsur apa saja dan bagaimana novel Candra Kirana memiliki hubungan intertekstual dengan "Tjerita Panji Angreni' sebagai teks hipogramnya adalah pertanyaan penelitian ini. Dalam menelaah hubungan intertekstual ini, penulis menggunakan teori intertekstual Michael Riffaterre yang menitikberatkan pada analisis isi dengan metode pembacaan heuristik dan hermeneutik. Temuan penelitian ini adalah bahwa novel Candra Kirana menunjukkan hubungan intertekstual dengan Tjerita Panji Angreni melalui unsur tema, citra tokoh, dan alur cerita. Meskipun demikian, novel Candra Kirana juga mentransformasikan makna-makna progresif yang berbeda dengan "Tjerita Panji Angreni", seperti makna nasionalisme yang berupa cinta akan kerajaan, makna kesetaraan gender yang berupa kesetiaan laki-laki, keberanian, kekuatan, perjuangan dan ketidakpasrahan perempuan, makna kerakyatan dengan pelibatan tokoh utama dari kalangan rakyat dan makna religiusitas yang berbentuk dasar niat Panji dalam mencari pasangan hidup.[Intertextuality on Novel Candra Kirana and "Tjerita Panji Angreni": Riffaterres Perspective] This research aims to discuss the intertextuality of Candra Kirana novel by Ajip Rosidi with "Tjerita Panji Angreni". What elements and to what extend Candra Kirana novel has an intertextual relationship with Tjerita Panji Angreni as the hipogram text were the questions of this research. In examining this intertextual relationship, the writer used Michael Riffaterre's intertextual theory which focused on content analysis with heuristic and hermeneutic readings. The findings of this study were that the novel Candra Kirana showed intertextuality with the "Tjerita Panji Angreni" through elements of themes, character images, and story lines. Even so, Candra Kirana's novel also transformed progressive meanings that differ from the Tjerita Panji Angreni such as the meaning of nationalism in the form of love for the kingdom, the meaning of gender equality in the form of male loyalty, courage, strength, struggle and women's insecurity, the meaning of populist with engagement the main character of the people and the meaning of religiosity in the form of Panji's intention in finding a life partner.Keywords: intertextuality; novel; "Tjerita Panji Angreni"

The problem of language identity in Volodymyr Vynnychenko’s novel I want! in contemporary sociocultural context

2020 ◽  
Vol 2019 (2 (11)) ◽  
pp. 211-227
Author(s):  
Ekaterina V. Baydalova ◽  
Keyword(s):  
National Identity ◽  
Russian Literature ◽  
The Novel ◽  
Sociocultural Context ◽  
Main Character ◽  
Life Goal ◽  
Language Identity ◽  
National Question ◽  
In The Beginning ◽  
Ukrainian Society

The novel by Volodymyr Vynnychenko I want! (1915) was, on one hand, his literary answer to the discussion on the national question in Ukrainian society, and, on the other, it was his reaction to the accusations of him being a renegade resulting from his shift towards Russian literature. In 1907-1908, after the publication of his dramas and novels which were impregnated with the idea of “being honest with oneself” (it implied that all thoughts, feelings, and acts were to be in harmony), his works could be more easily published in Russian than in Ukrainian. This situation was taken by his compatriots as a betrayal against his native language and the national cause. In the novel I want! the problem of language identity is directly linked with national identity. In the beginning of the novel the main character, poet Andrey Halepa, despite being ethnic Ukrainian, spoke, thought, and wrote poems in Russian, and consequently his personality was ruined and his actions lacked motivation. It seems that after his unsuccessful suicide attempt and under the influence of a “conscious” Ukrainian, Halepa got in touch with his national identity and developed a life goal (the “revival” of the Ukrainian nation and the building of a free-labour enterprise). However, in the novel, national identity turns out to be incomplete without language identity. Halepa spoke Ukrainian with mistakes, had difficulty choosing suitable words, and discovered with surprise the meaning of some Ukrainian words from his former Russian friends. The open finale emphasises the irony of the discourse around a fast national “revival” without struggle and effort, and which only required someone’s will.

ISU FEMINISME DALAM NOVEL PUTRI KARYA PUTU WIJAYA

2017 ◽  
Vol 5 (2) ◽  
pp. 133
Author(s):  
Arriyanti Arriyanti
Keyword(s):  
Gender Stereotypes ◽  
Human Being ◽  
The Novel ◽  
Main Character ◽  
Ways Of Thinking ◽  
Women Rights

This paper discusses about issues of feminism in a novel titled Putri written by Putu Wijaya. The discussing about women issues will be analyzed by applying feminism ways of thinking. Issues of feminism will be seen by looking at the main character of the novel. Feminism issues in the novel appear because of the behavior and attitude of the heroine in struggling her will. The rejection toward different gender stereotypes which tends to cut women rights as human being and member of society is the reflection of the heroine‘s attitude.AbstrakTulisan ini mengkaji isu feminisme yang terkandung di dalam novel Putri karya Putu Wijaya. Pembahasan wacana perempuan ini dikupas dengan memanfaatkan kajian feminis. Isu feminisme ini diamati dari tokoh utama cerita, yaitu Putri. Isu feminisme dalam novel Putri muncul karena adanya sikap dan perilaku tokoh utama perempuan dalam mewujudkan dan memperjuangkan keinginannya. Penolakan terhadap perbedaan stereotip gender yang cenderung mengebiri hak-hak perempuan sebagai manusia dan anggota masyarakat merupakan wujud perilaku tersebut.

TYPES OF HEDONISM ON THE MAIN CHARACTER SIR WALTER ELLIOT IN THE NOVEL PERSUASION BY JANE AUSTEN

2020 ◽  
Vol 8 (1) ◽  
pp. 30-43
Author(s):  
Enggin Valufi ◽  
Retno Budi Astuti
Keyword(s):  
Qualitative Method ◽  
Jane Austen ◽  
18Th Century ◽  
The Novel ◽  
Main Character ◽  
Philosophical Approach ◽  
High Culture ◽  
Descriptive Qualitative

Hedonism is a view of life in philosophy that seeks to avoid pain and make pleasure as the main goal in life. People who embrace hedonism tend to over-pursue pleasure. The hedonism lifestyle is mostly carried out by 18th century people especially the nobles who live in high culture. They are as close to hedonism as they are in the Persuasion novel by Jane Austen. Sir Walter Elliot the main character is a nobleman who did a lot of hedonism. Hedonism which is seen as too glorifying personal pleasure to ignore others. The purpose of this study was to find out the types of hedonism done by Sir Walter Elliot in Persuasion. This research uses descriptive qualitative method because all data are in the form of sentences. The researcher uses a philosophical approach and analyzes data using Weijers' theory as the main theory. The results of this study found that Sir Walter Elliot performed two types of hedonism, namely aesthetic hedonism and selfish hedonism.

The use of second person pronouns in a literary work

2014 ◽  
Vol 43 (2) ◽  
Author(s):  
Helen de Hoop ◽  
Lotte Hogeweg
Keyword(s):  
Literary Work ◽  
First Person ◽  
The Novel ◽  
Main Character ◽  
Second Person ◽  
Person Pronoun

AbstractFor this study we investigated all occurrences of Dutch second person pronoun subjects in a literary novel, and determined their interpretation. We found two patterns that can both be argued to be functionally related to the de-velopment of the story. First, we found a decrease in the generic use of second person, a decrease which we believe goes hand in hand with an increased distancing of oneself as a reader from the narrator/main character. Second, we found an increase in the use of the descriptive second person. The increased descriptive use of second person pronouns towards the end of the novel is very useful for the reader, because the information provided by the first person narrator himself becomes less and less reliable. Thus, the reader depends more strongly on information provided by other characters and what these characters tell the narrator about himself.

Paranoid Interpretation, Desire's Nonobject, and Nella Larsen's Passing

PMLA ◽  
2004 ◽  
Vol 119 (2) ◽  
pp. 282-295 ◽  
Author(s):  
Brian Carr
Keyword(s):  
The Novel ◽  
Main Character ◽  
Racial Passing ◽  
Race And Sexuality ◽  
Delusional Jealousy

This article claims that much of the contemporary scholarship on Nella Larsen's Passing attempts to correct the delusional apprehensions of the novel's main character, Irene Redfield. I suggest that this corrective effort ultimately places critics in the paranoid orbit they aim to diagnose. Critics are unable to escape the logic of paranoia primarily because they read Irene's paranoia according to a conventional tropology of paranoia, homosexuality, and delusional jealousy. The paranoid gesture tries to prove that Passing is “really about” homosexuality and simply passing itself off as a novel about racial passing. I work through the psychoanalytic concepts of desire and paranoia to show how the novel incessantly thematizes the processes by which race and sexuality are substantialized in the scholarship. Ultimately, it is because Passing rigorously drains identitarian categories of substance that the novel is available to the paranoid substantializing of critics.

scholarly journals Recalculating the White Page-GPS Love in Comme dans un film des frères Coen

2016 ◽  
Vol 5 (1) ◽  
pp. 53-72
Author(s):  
Valerie Hastings
Keyword(s):  
The Novel ◽  
Main Character ◽  
Creative Activity ◽  
Moving Images ◽  
The Voice ◽  
The Way

Abstract Hastings reads the novel Comme dans un film des frères Coen (2010) by Bertrand Gervais as addressing both the midlife and the blank page crisis. Indeed, the main character of this novel is a writer in his fifties who still suffers from the failure of his last novel ignored by the critics. Disenchanted, he slowly enters a world of fantasy, and falls in love with the voice of his GPS he called Gwyneth “parle trop” (speaks too much) therefore recalling the name of the actress with the same name. He gradually loses contact with his wife and his son, a successful painter, and is transformed into “the man who was not there” another character from a movie by the Coen brothers entitled The Barber: the man who was not there. Hastings asks: How could one get lost with a GPS? After the main character had initially bought his GPS for a trip in Australia in order to find his way, it started to go beyond its role as a road guide and questioned where he was in his relationship with his wife, in his career as a writer, and in his skin as a mature man. Not only was the GPS not fulfilling its purpose but also it started to ruin a fragile relationship hoping to find its way back to love during a last minute trip in Australia. Even after destroying the annoying talkative GPS, it continued to disrupt the couple in the plane on the way back to Canada. As much as Gwyneth the GPS is synonymous with escape and freedom, it is also showing the main character the wrong way, the way out of his reality, out of his family and out of his life. His attempts to free himself from Gwyneth are worthless, her image is still there, haunting his thoughts like images from a movie. But the displacement happens at another level than just the diegetic one. The confrontation of the text with moving images has consequences on the shape of the text itself. The mapping of the text on the page is influenced by this amalgam. The white page becomes a space where words are rearranged in different ways, some of which suggest poetry, other cartoons or cinematic images. The displacement of literature in areas that were previously foreign to it is at the heart of creative activity, and determines its renewal. Hastings presents the consequences resulting from the confrontation with the GPS, both on the mapping of one’s identity as well as the mapping and the shaping of the text itself.

scholarly journals Ivan Vahylevych’s mystified biography in Yurii Vynnychuk’s novel “Liutetsiia”

2020 ◽  
pp. 6-11
Author(s):  
Halyna Bokshan
Keyword(s):  
19Th Century ◽  
The Novel ◽  
Main Character ◽  
Don Juan ◽  
Material Characteristic ◽  
Public Figure ◽  
Historical Aspects ◽  
Historical Material ◽  
The 19Th Century ◽  
Historical Epoch

The study examines the features of the strategies of mythologization and mystification used by Yurii Vynnychuk in creating his literary version of Ivan Vahylevych’s biography in the novel “Liutetsiia”. First of all the paper emphasizes the writer’s inclination to play with historic material characteristic of postmodernism, manifesting itself in most of his works and in the novel under study, in particular. The research pays special attention to the original interaction of mythological and cultural-historical aspects in the fictionalized biography of the renowned public figure of the 19th century, famous for his activity in Ruska Triitsia. It considers the specific features of the literary visualization of Ivan Vahylevych character in the relation to Ivan Franko’s essay representing the epistolary of the figures of the historical epoch depicted in the novel. The study determines the correlation between the personages in “Liutetsiia” and the characters and motives of the Celtic mythology. It identifies the specificity of the reminiscent relations of the main character with the archetypal figure of Don Juan. The conclusions highlight the use of irony, grotesque and comic modus by Yurii Vynnychuk as the manifestation of the neo-mythological device of deheroization. It also accentuates that the strategies of mythologization and mystification in “Liutetsiia” reflect the manner of interpreting cultural-historical material characteristic of the author.

scholarly journals BIG AND SMALL WORLDS OF CHILDREN CHARACTERS IN ‘A LITTLE PRINCESS’ BY F. H. BURNETT

2020 ◽  
Vol 12 (3) ◽  
pp. 70-78
Author(s):  
Varvara A. Byachkova ◽  
Keyword(s):  
Charles Dickens ◽  
Fairy Tale ◽  
Literary Tradition ◽  
Small World ◽  
Protective Mechanism ◽  
The Novel ◽  
Main Character ◽  
Small Worlds ◽  
The World ◽  
Space Organization

The article raises the topic of space organization in writings by Frances Hodgson Burnett. The object of analysis is the novel A Little Princess. The novel, addressed primarily to children and teenagers, has many similarities with David Copperfield and the works of Charles Dickens in general. The writer largely follows the literary tradition created by Dickens. The space of the main character is divided into three levels: the Big world (states and borders), the Small world (home, school, city) and the World of imagination. The first two worlds give the reader a realistic picture of Edwardian England, the colonial Empire, through the eyes of a child reveal the themes of unprotected childhood, which the writer develops following the literary tradition of the 19th century. The Big and Small worlds also perform an educational function, being a source of experience and impressions for the main character. In the novel, the aesthetic of realism is combined with folklore and fairy-tale elements: the heroine does not completely transform the surrounding space, but she manages to change it partially and also to preserve her own personality and dignity while experiencing the Dickensian drama of child disenfranchisement, despair and loneliness. The World of imagination allows the reader to understand in full the character of Sarah Crewe, demonstrates the dynamics of her growing up, while for herself it is a powerful protective mechanism that enables her to pass all the tests of life and again become a happy child who can continue to grow up and develop.

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