scholarly journals EMANSIPASI GENDER DALAM MIDDLESEX KARYA JEFFREY EUGENIDES (Gender Emancipation in Middlesex by Jeffrey Eugenides)

ALAYASASTRA ◽  
2018 ◽  
Vol 14 (2) ◽  
Author(s):  
Chrisna Natalia
Keyword(s):  
Queer Theory ◽  
Judith Butler ◽  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Mixed Order ◽  
Three Stages ◽  
Gender Spectrum

ABSTRAK Tulisan ini membahas emansipasi gender dalam novel Middlesex karya Jeffrey Eugenides.Adapun tujuannya ialah untuk: (1) mengetahui struktur cerita novel, (2) mengetahui bagaimana spektrum gender berkembang dalam novel ini, (3) mengetahui bagaimana dan mengapa emansipasi gender direpresentasikan dalam novel ini. Penelitian ini dilakukan dengan merujuk kepada teori queer, yang muncul dari feminisme, yang digagas oleh Judith Butler. Hasil penelitian menunjukkan bahwa novel ini ditulis menggunakan sudut pandang orang pertama, plot episodikal beralur maju mundur, latar simbolik terintegrasi, dan tone depresi yang berubah menjadi riang. Penelitian ini juga menunjukkan bahwa spektrum gender berkembang melalui tiga tahapan, yaitu belum berkembang, berkembang, dan matang. Selain itu, novel ini juga menunjukkan bahwa untuk mengurangi diskriminasi, gender harus dipisahkan dari jenis kelamin. Hal itu karena gender tidak muncul secara alamiah seperti jenis kelamin. Gender adalah generalisasi dari performa individu. Kata kunci: gender biner; diskriminasi; genderqueer; kebebasan. ABSTRACT This study is about gender emancipation in a novel entitled Middlesex by Jeffrey Eugenides. The objectives of the study are, (1) to find out how the element of the novel is developed, (2) to find out how the spectrum of gender in this novel is developed, (3) to find out how gender emancipation presented in this novel. The analysis is done based on queer theory, which is derived from feminism from Judith Butler. The result shows that Middlesex is written by using the first person point of view named Call Stephanides, episodical plot with mixed order, simbolic integrated settings, and varieties of tones such as depressions and joy. The result shows that gender spectrum development is divided into three stages, which are being undeveloped, developed, and advanced. This novel also suggests that in order to decrease discrimination, gender must be separated from sex. Gender does not come naturally as sex but it is developed from perfomance. Keywords: binarism, discrimination, genderqueer, freedom

Divi pirmās personas stāstījumi Osvalda Zebra romānā „Māra”

2021 ◽  
pp. 197-208
Author(s):  
Daiga Zirnīte
Keyword(s):  
Young Woman ◽  
Personal Growth ◽  
Point Of View ◽  
The Other ◽  
Internal Conflict ◽  
Narrative Form ◽  
First Person ◽  
The Novel ◽  
Growth Path ◽  
Dramatic Structure

The aim of the study is to define how and to what effect the first-person narrative form is used in Oswald Zebris’s novel “Māra” (2019) and how the other elements of the narrative support it. The analysis of the novel employs both semiotic and narratological ideas, paying in-depth attention to those elements of the novel’s structure that can help the reader understand the growth path and power of the heroine Māra, a 16-year-old young woman entangled in external and internal conflict. As the novel is predominantly written from the title character’s point of view, as she is the first-person narrator in 12 of the 16 chapters of the novel, the article reveals the principle of chapter arrangement, the meaning of the second first-person narrator (in four novel chapters) and the main points of the dramatic structure of the story. Although in interviews after the publication of the novel, the author Zebris has emphasised that he has written the novel about a brave girl who at her 16 years is ready to make the decisions necessary for her personal growth, her open, candid, and emotionally narrated narrative creates inner resistance in readers, especially the heroine’s peers, and therefore makes it difficult to observe and appreciate her courage and the positive metamorphosis in the dense narrative of the heroine’s feelings, impressions, memories, imaginary scenes, various impulses and comments on the action. It can be explained by the form of narration that requires the reader to identify with the narrator; however, it is cumbersome if the narrator’s motives, details, and emotions, expressed openly and honestly, are unacceptable, incomprehensible, or somehow exaggerated.

scholarly journals Anachronisms in Charles Dickens’s ‘Great Expectations’: A Case Study Based on Gerard Genette’s Structural Narratology: الإيقاع الزمني في رواية تشارلز ديكنز "آمال عظيمة" دراسة حالة في ضوء تقنيات السرد البنائي عند جيرارد جينيت

2021 ◽  
Vol 5 (14) ◽  
pp. 130-117
Author(s):  
Rajaa Radwan Hilles Rajaa Radwan Hilles
Keyword(s):  
Linear Order ◽  
Narrative Structure ◽  
Point Of View ◽  
Current Paper ◽  
First Person ◽  
Logical Relation ◽  
The Novel ◽  
Great Expectations ◽  
Sequence Of Events

This paper deals with the narrative order of time in Charles Dickens’s novel Great Expectations. Time is crucial in narratological structure as it establishes a logical relation for events in the narrative. Besides, a narrative develops its point of view through the voices in the narrative. This point of view is called focalization. This paper assumes that the sequence of events in Dickens’s Great Expectations does not follow a linear order and consequently, the point of focalization changes throughout the narrative. Accordingly, the current paper intends to investigate the order of narration in the novel. It intends to explore the ultimate thematic concern of the novel as well. The discussion will be in the light of Gerard Genette’s narratological structure and will be applied on Dickens’s Great Expectations. It is the 13th novel in his independent literary works. It has been published unillustrated in 36 weekly instalments in All the Year Round from 1860 through 1861. Then, it has been published in three volumes by Chapman & Hall in1861. The narrative voice has a great impact on the story’s timeline and on the readers because it is narrated in the first-person voice by the protagonist, Philip Pirrip. (Davis, 2007: P 126) The analysis is based on Genette’s theorization of time order in telling a story and communicating a broader point of view that the author intends to make throughout the whole narrative structure.

scholarly journals L’influence du genre à la transmission de la mémoire : Cas de Dora Bruder de Patrick Modiano

2019 ◽  
Vol 3 ◽  
pp. 00022
Author(s):  
Fauzan Hanif
Keyword(s):  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Patrick Modiano ◽  
Cultural Experiences ◽  
The Moment ◽  
The Relationship

<p class="Abstract">Such cultural experiences have a possibility to be embedded in a memory of one generation. But there are mostly in form of traumatic experiences. And then, we learn that these memories could be transferred onto their children, or we could say it as “post generation”. In the novel <i>Dora Bruder</i>, such things happen when the author, Patrick Modiano, plays his attribute in composing genres to arrange and transfer his message. The story mainly concerns as the narrator try to find a missing girl named Dora Bruder. She was gone in 1941, or in the moment when Nazi was occupying France. This research aims to discover the relationship between the role of genre on emerging the message, particularly the traumatic ones by using the concept of genre and postmemory. From the analysis we conclude that Modiano use genres to transfer his message traumatic. It exists in form of the impression of absence. From the sensation of absence, he continues to transmit consecutively another impression of hollow, doubt, and also hope. For transferring his message and memory, Modiano mixes real documents and his fiction. He manifest them by constructing a story of another person and narrating it from the first-person point of view. He uses this technique to identify himself, because the “shared idea” of one’s could be related with another’s.</p>

scholarly journals Narrar e ser: a pessoalidade do narrador de Eu receberia as piores notícias de seus lindos lábios / Narrating and Being: The Us Narrator’s Personality Eu receberia as piores notícias de seus lindos lábios

2021 ◽  
Vol 30 (1) ◽  
pp. 170
Author(s):  
Netanias Mateus De Souza Castro
Keyword(s):  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Safe Distance ◽  
History Of The Novel ◽  
The Third ◽  
The Us ◽  
Third Person ◽  
History Of ◽  
The Third Person

Resumo: A história do romance viu, diante de si, formas diversas de narrar, conforme aponta os escritos de Theodor W. Adorno, por exemplo. Desde narradores impessoais, mantendo a distância segura que lhe confere a narrativa em terceira pessoa até os casos em que o que se narra é algo diretamente relacionado ao próprio narrador. Esse parece ser o caso do romance de Marçal Aquino, Eu receberia as piores notícias de seus lindos lábios, que conta o envolvimento amoroso de Cauby e Lavínia a partir do olhar do próprio Cauby. Esse narra de um modo cuja relação de si mesmo com a narrativa fica explícita, tamanha é sua passionalidade em relação às suas vivências e ao ato de narrar. Isso se manifesta tanto na linguagem, em termos de escolhas narrativas, quanto nas ações do narrador-personagem-protagonista que narra e vive aquilo que narra. Suas características mais notáveis são a passionalidade, a capacidade de registrar fotograficamente detalhes da narrativa e o rompimento com técnicas narrativas tradicionais.Palavras-chave: narrador; primeira pessoa; romance brasileiro contemporâneo; Eu receberia as piores notícias de seus lindos lábios.Abstract: The history of the novel saw, before it, different ways of narrating, as pointed out by the writings of Theodor W. Adorno, for example. From impersonal narrators, maintaining the safe distance that the third person narrative gives him until the cases in which what is narrated is something directly related to the narrator himself. This seems to be the case with Marçal Aquino’s novel I would receive the worst news from his beautiful lips, which tells of Cauby and Lavínia’s loving involvement from the point of view of Cauby himself. He narrates in a way whose relationship with himself and the narrative is explicit, such is his passion for his experiences and the act of narrating. This manifests itself both in language, in terms of narrative choices, and in the actions of the narrator-character-protagonist who narrates and experiences what he narrates. Its most notable characteristics are passionality, the ability to photographically record details of the narrative and break with traditional narrative techniques.Keywords: narrator; first person; contemporary Brazilian romance; Eu receberia as piores notícias de seus lindos lábios.

scholarly journals THE STUDY OF INTERTEXTUALITY ON NOVEL ENTITLED A VERY YUPPY WEDDING AND DIVORTIARE BY IKA NATASSA

2019 ◽  
Vol 8 (2) ◽  
pp. 70
Author(s):  
Zahria Farlydia Farikhin
Keyword(s):  
Data Analysis ◽  
Qualitative Approach ◽  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Happy Ending ◽  
Descriptive Qualitative

This research aimed to describe intertextual in the novel A Very Yuppy Wedding and Divortiare by Ika Natassa. This research used a descriptive qualitative approach in the form of structural. The result of the data analysis is that theme has similarity. The themes of these novels are love, friendship, and family. Figure and characterization in the novels has less different, the figures describe as  a work hard figure not only for the job but also on their relationship. In both of the novel, both of the main characters are women and use the first person as the point of view. Whereas the plot of the novels has different, that is novel Divortiare has a flash-back plot and A Verry Yuppy Wedding has a progressive plot. Both of the novel have differences in the story but have the same happy ending. The background of the stories are not different. Ika Natassa takes both of the settings in Jakarta. The conclusion is both of the novels have no significant differences.

scholarly journals Highsmith's The Price of Salt: A Harbinger of Homosexual's Happiness

2019 ◽  
Vol 10 (1) ◽  
pp. 33-47
Author(s):  
Bhawana Pokharel
Keyword(s):  
Queer Theory ◽  
Judith Butler ◽  
The Novel ◽  
Female Characters ◽  
Adrienne Rich ◽  
Heterosexual Relationship ◽  
Traditional Mode ◽  
Homosexual Relationship

Patricia Highsmith’s The Price of Salt embodies homosexual relationship between its female characters namely Therese and Carole. In doing so, it presents a resistance to the contemporary heterosexual society which accepts only heterosexuality as its sexual norm. The article argues that the character’s rejection of the traditional mode  of heterosexual relationship is in order to search for their lesbian self though that is taken as a deviation in the society; and so it faces various challenges. However, the characters together overcome the obstacles laid down by the society and move forward to finding freedom as well as establishing a new path which is taken as an unconventional practice in the then society; in turn, it proves to be the harbinger of hope and happiness for their kind. To substantiate this claim, the article draws from Lillian Faderman, Adrienne Rich, Judith Butler and Helen Boyd for the different aspects of lesbianism and queer theory they present. Similarly, the article is a descriptive, interpretive and analytical reading of the novel on the basis of the ideas based on the above mentioned scholars.

scholarly journals Child Narration in Harper Lee’s “To Kill a Mockingbird”

2020 ◽  
Vol 3 (1) ◽  
pp. 150-155
Author(s):  
Mushtaq A. Mohammed ◽  
May H. Abd Alhadi
Keyword(s):  
American Literature ◽  
Significant Role ◽  
Point Of View ◽  
Western Society ◽  
First Person ◽  
The Novel ◽  
To Kill A Mockingbird ◽  
Children's Stories ◽  
Harper Lee ◽  
Class Distinction

Children's stories have a significant role in American literature. Such a role is regarded as both instructive and entertaining. A child narration, to Harper Lee (1926–2016), the American novelist, reveals some hidden messages about how a child can develop and can succeed to conform to society. A narrator, to her, could or could not be a character in the events. If a child narrates the events of a novel, he/she will definitely simplify the topics he/she narrates. Hence, Lee’s To Kill a Mockingbird portrays a world that is exotic to the reader. The present paper aims to explore how the novel introduces the struggles and the disadvantages of Western society through a child’s narration, which includes the point of view and language. It also tackles how the capacity of childhood innocence shows people’ behavior clearly. This study tries to find some answers to the following questions: Why did Lee use child narration? What is the aim of using first-person narration? Was the narrator successful in reflecting the truth of events as adults did? The paper also aims at shedding light on the western problems through the child’s eyes. It attempts through child narration to expose people’s deceptive appearances, racism, and class distinction.

scholarly journals TIPE FOKALISATOR DALAM NOVEL PUTU WIJAYA:TELEGRAM

TELAGA BAHASA ◽  
2021 ◽  
Vol 9 (1) ◽  
pp. 40
Author(s):  
A. Yusdianti Tenriawali ◽  
Sumiaty Sumiaty
Keyword(s):  
Data Analysis ◽  
Study Data ◽  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Theory Analysis ◽  
Analysis Techniques ◽  
Person Perspective ◽  
Third Person ◽  
Qualitative Descriptive

 Analysis of the point of view in the intrinsic element of literary works is still dominated by the analysis of first-person, and third-person perspectives. But in the development of narrative text theory analysis, there was a change in the division of viewpoint types. In Bal's narratology theory, the point of view is called focalization, while the viewer in the point of view is called focalization. Therefore, how is the type of focalizer in the novel, specifically in the novel Telegram, became the focus of this research study. The purpose of this study was to identify the type of focalizer used in the novel. This research is a qualitative descriptive study. Data collection techniques used are reading and note-taking techniques. The data analysis techniques in this study include data identification, data classification, data analysis, and the conclusion of data analysis results. The results showed that the type of focalizer type used was internal focalization. The use of an internal focalization shows that the author of the novel tells the story from a first-person perspective, and the author does not appear in the story. Keywords: focalizer, novel, narratology BalAnalisis sudut pandang dalam unsur intrinsik karya sastra hingga saat ini cenderung masih didominasi oleh analisis sudut pandang orang pertama, dan orang ketiga. Namun dalam perkembangan analisis teori teks naratif, terlihat adanya perubahan pembagian tipe sudut pandang. Dalam teori naratologi Bal, sudut pandang disebut fokalisasi, sedangkan yang melihat dalam sudut pandang disebut fokalisator. Oleh karena itu, bagaimanakah tipe fokalisator dalam novel, khususnya novel Telegram, menjadi rumusan masalah penelitian ini. Tujuan penelitian ini untuk mengidentifikasi tipe fokalisator yang digunakan dalam novel. Penelitian ini merupakan penelitian deskriptif kualitatif.Teknik pengumpulan data yang digunakan adalah teknik baca dan teknik catat. Adapun teknik analisis data dalam penelitian ini meliputi identifikasi data, klasifikasi data, analisis data, dan penyimpulan hasil analisis data. Hasil penelitian menunjukkan bahwa tipe tipe fokalisator yang digunakan adalah fokalisator internal.  Penggunaan fokalisator internal menunjukkan bahwa pengarang novel tersebut menceritakan cerita dari sudut pandang orang pertama,dan pengarang tidak menampakkan diri dalam cerita.  

The Coherence of Mary Barton: Romance, Realism, and Utopia

2015 ◽  
Vol 5 (3) ◽  
pp. 185-200
Author(s):  
Robert Z. Birdwell
Keyword(s):  
Thomas Carlyle ◽  
The Novel ◽  
Second Stage ◽  
The Third ◽  
Third Stage ◽  
Three Stages ◽  
Mode Of Production

Critics have argued that Elizabeth Gaskell's first novel, Mary Barton (1848), is split by a conflict between the modes of realism and romance. But the conflict does not render the novel incoherent, because Gaskell surpasses both modes through a utopian narrative that breaks with the conflict of form and gives coherence to the whole novel. Gaskell not only depicts what Thomas Carlyle called the ‘Condition of England’ in her work but also develops, through three stages, the utopia that will redeem this condition. The first stage is romantic nostalgia, a backward glance at Eden from the countryside surrounding Manchester. The second stage occurs in Manchester, as Gaskell mixes romance with a realistic mode, tracing a utopian drive toward death. The third stage is the utopian break with romantic and realistic accounts of the Condition of England and with the inadequate preceding conceptions of utopia. This third stage transforms narrative modes and figures a new mode of production.

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.

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