NATURAL DISASTER VIDEOS AS MEDIA TO TEACH WRITING

Transcription

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2,
1-7, November 2015. ISSN 2302-6278
NATURAL DISASTER VIDEOS AS MEDIA TO TEACH WRITING
NEWS ITEM TEXT FOR SENIOR HIGH SCHOOL STUDENTS
Amiruddin Hadi Wibowo
Universitas Negeri Surabaya
Abstract
Many students experience many difficulties in writing a composition if teachers
only give them titles to work. This case causes them reluctant and unable to do the task
well. The teachers should be creative in teaching writing. The use of media is suggested
to be used in teaching process. Generally spoken, the use of media may encourage the
students to follow the teachers’ instruction clearly as the media provide direct stimulus
for the students to learn the productive skills. The study offers natural disaster videos as
the applied media to teach writing a news item text because the videos provide
sufficient information for the students to start working with their composition. The
result showed that the application of the media could enable the students to write a news
item text. The media gave two basic information for the students. They were the
language features and generic structure. From the latter fact, the students could make up
a good concept to begin composing their news item texts. Thus, the use of natural
disaster videos is worth implementing as the media to teach writing news item.
Keywords: Writing, Natural Disaster Video, and News item Text
A. INTRODUCTION
English has been recieved and admitted
as an international language. The latter is the
reason for many people to learn this language
to communicate with other people around the
world. In non-English speaking countries as
Indonesia, English has a position as a foreign
language. In Indonesia, English owns different
treatment with other foreign languages. Since
it is an international language having the most
speakers around the world, the educational
policy introduces it from the kindergarten to
elementary school level before setting it as the
compulsory subject for high school level.
Based on the Indonesian curriculum, the target
of learning English is to enable the students to
use English for communication in both oral
and written.
There are four skills of English learnt,
speaking, writing, reading, and listening. The
writing is one of the four skills emphasizing
on the accurate language use because when
the students must compose a composition,
they have to create a well-understood content
using the standard grammatical structure.
However, the writing is a complex activity
which requires students to think hard about
what they are going to write.
Regarding the complexity of conducting the
writing class, the common obstacles occuring
in the process of leaning English is that the
students usually find difficulties when they are
given a certain material from the textbook.
Then, the students hardly understand what the
textbook discusses and when the teacher asks
them to make a writing composition based
on the given title. Mostly, they are confused
with the instruction given by the teacher and
finally they are getting bored of the lesson.
1
When students begin to feel bored of the
English lesson, they will ignore all materials
in the teaching and learning activity. Thus, the
goal of learning English is not achieved.
Another case which arises is that the students
do not only feel bored but also lose their
enthusiasm in learning English. If it happens
all the times, the teachers would get many
troubles while teaching.
Students are not the ones to blame for these
cases, but teacher also should consider it as a
kind of the responsibility to overcome because
the teaching and learning process are mainly
the cooperation between stu-dents and the
teachers. Systematically, when the teacher
explains material, the students are to listen
carefully so the goal of teaching can be
achieved by the teacher. The teacher also can
give a kind of motivation to help them to
understand a certain material and do a certain
task. It means that the teaching writing is not
very easy for the students to learn.
When teaching writing, teacher must understand what kind of text the students will learn.
There are many kinds of text, usually known
as genre, such as descriptive, narrative, news
item, recount, report, and so on. The genre we
want to discuss more is a news item text
which is used to inform listeners, reader, or
viewers about particular events in certain time.
A news item text begins with newsworthy
events, backgrounds of the related information, and sources. The newsworthy-event
part recounts the events reported in the text in
summary form. Background parts elaborate
the reported events, time, and involved
participants. The content of sources is
comments from participants, witness, or
experts towards the events happening in the
news. According to Eltis (1990: 34) a news
item text is a factual text which informs
readers of daily newspaper events of the day
which is considered newsworthy or important.
To teach news item text, teachers should have
many kinds of teaching methods to make
various teaching conditions or media so the
students will not be bored of the same
teaching method.
Then, one of the media is video, a recorded
television program in a compact disc or digital
video disc. The video is a technology of
capturing, recording, processing, and transmitting motioned picture. The use of video in
language teaching and learning is considered
as an alternative way to present teaching
material. There are three kinds of video which
can be used for teaching and learning process
in the class. They are off air programs, real
world videos, and language learning videos
(Harmer, 2001: 284).
Natural disaster videos are the real world
videos which can be one of the teaching aids
as well as one of the material to get more ideas
while doing a writing activity. It also tells their
students about events caused by natural forces
causing destruction of life or property. The
well known natural disasters recorded in the
video includes earthquake, mud slides, volcano, flood, tornado, etc. By providing the
direct stimulus, it is assumed that the use of
video can bring atmosphere into the classroom.
Based on the phenomenon arising in
the common teaching and learning process
and supported by the use of natural disaster
video as media to teach writing, it is needed to
make a question regarding how the implementation of natural disaster videos as media to
teach writing news item text is.
B. FINDINGS AND DISCUSSION
1. Teaching Writing
Writing requires teachers to study hard
about how to state an idea in the form of
sentence, something which is in the mind to
the written text as Byrne (1991: 1) states that
writing is the process of pro-ducing graphic
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symbol which has to be arranged according to
certain convention to form words and to
arrange words into sentences.
Heaton (1991:35) also states that writing skill
is complex and sometime difficult to teach. It
requires the mastery of grammatical and rhetorical device, concept and also judgment
statement. Teaching writing also enables
people to have a great chance to express their
thoughts, to explain the ideas, and to convey
the messages to other people in written forms.
Carter et al (2002: 245) states that writing
allows you to take your ideas out of the realm
of thought and give them a form that other
people can read and consider.
Basically, teachers must undertsand
some fundamental principals before teaching
writing is conducted. Those principals occur
in all kinds of text. According Pradiyono
(2007: 33 - 34), the teacher firstly has to
understand about the communicative purpose
of the text that will be taught to the students
then they also need to acquire the rhetorical
structure or the generic structure of the text as
well as mastering the language features of the
text which include grammatical pattern and
linguistic item.
The methods, materials, and also the
teaching aids to achieve the standard competence largely depend on the teachers themselves. It can be said that the methods,
teaching aids, and materials which are used by
the teachers should be kept on the lesson plan
in order to achieve the instructional objectives.
Harmer (2001:34) states that teaching writing
is more than just dealing with hand writing,
orthography (the spelling system), and punctuation but also helping students to communicate real massages in an appropriate manner.
important. A news item text contains newsworthy events, backgrounds and sources. The
newsworthy events recount the reported
events in summary form. The background
elaborates the events, participants, and conditions. The content of sources is comments
from participants, witnesses, or the experts
towards the event happened in the news
(Depdiknas, 2006: 25).
News item, according to Eltis (1990:
34), is a factual text which informs readers of
daily newspapers about events of the day
which is considered newsworthy or important.
Based on the standard of content for senior
high school (2003: 50) news item text has two
components, schematic structures (generic
structure) and language feature.
3. Generic Structure of News Item Text
Based on Depdiknas (2006:25), it is
stated that news item has three significance
schematic structures, they are:
 The newsworthy event contains participant, headline, and description of event.
 The elaboration contains background, participant, sequences and places.
 Source contains the participants in,
witnessses to, and expert on the reported
event.
Here is the example of news item text generic
structure which is adapted from Bumi Aksara
by Darjis et al (2008: 50) entitled The
Floodborne Diseases
Generic News Item text
Structure
Newsworthy JAKARTA : Jakarta residents
Event
have been advised to be on the
alert for flood-borne diseases,
including leptospirosis, which
is transmitted through rat urine.
Headline:floodborne diseases
Elaboration “Aside from diarrhoea, residents
must be wary of leptospirosis
since the floodwaters could
2. News Item
There are many kinds of text; one of
them is news item text. This is used to inform
listeners, readers, or viewers about particular
events which are considered newsworthy or
3
Sources

contain the leptospirosis bacteria,” a senior official with the
Central Jakarta Health office,
Maryana, was quoted as saying
by Berita jakarta. com
Maryana said residents could
avoid contracting the disease
by ensuring good hygiene in
their environments.
“They should wear boots when
walking through water that
might be contaminated by rat
urine,” he said.
Saying verb: said (past tense)
verbs: said, was, could contain,
could avoid, might
Adverb of place: Central
Jakarta Health office
Those infected by the disease
display various symptoms including a prolonged fever,
yellowish eyes and pallor, and
require immediate medical
treatment.
Specific, detail information:
Those infected by the disease
display various symptoms including a prolonged fever,
yellowish eyes and pallor


Adverb of place: Central Jakarta Health
office
Using simple past tense. : could contain,
to be (was), said,
Specific, detail information: Those
infected by the disease display various
symptoms including a prolonged fever,
yellowish eyes and pallor.
4. Using Video to Teach Writing
A careful look at the common elements
to video features can help teachers to involve
students in the skill of analysis. The use of
videos can provide background information
and proper stimulant for the four English basic
skills activities, listening, speaking, reading
and writing. It can be a good alternative
because it offers the flexibility and can stimulate oral and written communication
among the learners. Stoller (1994: 26) stated
that videos offer the students significant
experiences to draw information to initiate the
written and oral communication while they are
exploring a thematic topic.
In writing activity, as stated by Tomalin
(1994: 110), the use of video is considered as
the activity involving language generated by
the students about the video program.
Moreover, Lonergan (2001:10) states that
video can be used to motivate students to learn
writing skill. Because the video show the
audio and visual information where students
will be stimulated to enjoy not only the show
of the video but also the content presented
within. In short, the use of video can be used
as a stimulus for developing writing skill.
Discussed in the previous elaboration that one
kind of videos is the real world videos, the
natural disaster video, one of the real world
videos, contains real information of something
happening in the world. Based on the function,
it can draw the students’ interest to the
happenings and information in the video
(Arcario, 1994:118). Thus, it can be one of the
teaching aids to guide the students to get more
Agustien (2004: 42) states that language
features is a consequence of the communicative purpose of a text. It involves several
linguistic components. According to Dardjis et
al (2008: 188), news item text involves
several language features as the followings:
 Case of the brief information in headline:
The Flood-Borne Diseases
 Focused at :flood that bring disease
containing the urine of rat
 Using action verb: said
 Using saying verb: said
 Adverb of time: .......
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ideas while doing writing activity because the
videos can bring real atmosphere into the
classroom.
The natural disaster videos are taken from the
recorded natural phenomena all around the
world. The videos usually record natural
phenomena happening because of the natural
force and causing destruction. Fortunately, the
video can be freely taken from the www.
youtube.com which includes all natural
phenomena around the world. These videos
will show the students about the time of the
event, the causes of it and the information to
explain it.
should include brainstorming activity to
activate the student’s background knowledge.
The pre-viewing activity reviews the generic
structures and language features which are in a
news item text. To involve the students into
teaching and learning activity, the teacher
should give a news item text to the students
and ask them to identify the generic structures
and language features. After all, the teacher
gives the students some questions related to
the text to check their understanding.
2. Viewing Activity
According to Stoller (1990: 13) the
primary purpose of viewing activity is to
facilitate the actual viewing of a video. It
means this activity helps students focus on
news which is happening, how it happens and
also what the witnesses’ or experts’ reports
are.
In this activity, the video is shown right
through. The teacher plays the natural disaster
video and asks the students to identify news,
background of event and the sources. The
teacher can play the video twice to help the
students get the information easily. After
watching the video, the teacher and the
students discuss what is happening in that
video. The teacher asks the students some
information about the news, background of
event and the sources.
5. The Implementation of Natural Disaster
Video in Teaching Writing News Item
Text
There are numbers of good reason to
use video in writing class. According to ElAraby (1999: 113), video combines visual and
audio stimuli so it is accessible to those who
have not yet learned to read and to write well
for providing sufficient context for learning.
The videos provide real world events which
can be one of teaching material to stimulate
more ideas while the students are doing
writing activity. Furthermore, Allen (2004:
319) stated that unlike the students who listen
to sound–only condition, students who are in
picture-and-sound conditions are more stable
and easier in receiving information from the
narrator.
In order to exploit the video fully in the
classroom, the teacher should integrate previewing, viewing, and post-viewing activities
into the lesson.
3. Post-viewing Activity
In post-viewing activity, the students
are asked to write a news item text based on
the video given. The students can use the
information, which is already discussed.
Those three steps play an important role to
build students’ understanding on how to
work with video while writing the news
items text. The three steps are adopted from
the Stoller (1993) so the teacher can
understand about how to use new technique
of teaching writing especially news item
text. It is expected that students will lose
1. Pre-viewing Activity
Stoller (1990: 12) states that the primary
purpose of pre-viewing activity is to prepare
students for the actual watching of a video
because comprehension is partially determined by a student’s own background knowledge schemata. It means that this activity
5
their boredom while studying English
writing. However, the teacher is supposed
not to count only on the video but, the
teachers must control students’ activity by
giving sharp instruction before the playing
the video.
The following example is the product of
news item text which is composed while
students watching the natural disaster video.
The text contains the generic structure and
linguistic feature.
Here is the example of student’s writing
about natural disaster
Seconds to Tsunami
Metro TV reported that Aceh people were
sad because the huge tsunami happened in
Banda Aceh on 26 December 2004. At that
time, a powerful wave came from the sea
swept all materials such as trees, cars, and
any other woods on its way.
Most people had been trying to avoid the
huge wave caused by an earthquake in the
button of the sea. An old woman handled
her two sons and they were running fast. An
old man who steered the pedicab for his
four families was looking so afraid. On the
other places, the old man was trapped in his
car. Fortunately, there were two men
helping him get out from his car.
One people recorded the huge water
sweeping all of material on its way. He said
that the trees were taken out from the
ground and the cars were all damaged.
Terribly, some of the people were not able
to run fast and avoid the huge waves.
Tsunami had made all people of Aceh feel
so miserable. The government has released
the number of victims which was about
fifteen thousand victims.
Looking to the news item text above it
contains the two important parts of text.
They are generic structure and linguistic
feature.
The first part of the generic structure are the
news worthy event containing the headline,
The Huge Tsunami Happened in Banda Aceh.
Within the first part of generic structure, there
is a description of event. It illustrates how the
event occurs. For example, a powerful wave
came from the sea and swept all materials.
The elaboration describes the actual condition
when the event happens. For example, most
people had been trying to avoid the huge wave
caused by an earthquake in the bottom of the
sea. The elaboration part contains the
participant involved in the event, the old man
and the old woman, time, 26 December 2004
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and place, Banda Aceh. The source elaborates
how the event can be recorded or retelled.
There are some supporting parts taking part in
the source. The witnesses is the main source
of the news telling or recording how the event
happens. The expert confirms the further
response towards the happening events. The
text also has the linguistic feature which
reflects the correct saying words for example
said, reported, and released as well as correct
action verbs for example reported, released,
came, handled, steered, helped and recorded.
The form of the verbs contained is usually in
the form of past tense as reported, released,
came, handled, steered, helped, recorded, was,
were, reported and said.
Finally, by using the natural disaster video, the
teacher can explain the generic structures and
language features of news item text easily
from the played video. The use of natural
disaster video also contains the events occurring in the audio-visual video so the student
could find information about the event in
certain time. Through natural disaster video,
the students can understand the generic structure and language features of news item text
implicitly and the goal of teaching writing
news item text is achieved.
structure and language features of news item
text implicitly.
From the implementation, the students mostly
can make a newsworthy event which contains
the participant and the description of event.
Yet, most of them neglected of the use of
headline. For the elaboration, most of the
students were able to make a background of
event, place, participant, and the time. Working in the sources, the students could make it
all. After obtaining and analysing the result,
the use of natural disaster video could help the
students make a good news item text based on
its generic structures and language feature
because the information needed in writing a
composition was provided in the video. Thus,
the implementation of the natural disaster
video has answered the problem in this study.
Finally, the next attempt is needed to make
another research in the same field of study for
the different grade of education and areas with
various types of students or various genre of
text. It supposed to enrich the variation of the
use of natural disaster videos as an alternative
in teaching news item writing.
REFERENCES
Agustien, Helena. 2004. The 2004 English
Curriculum in A Nutsell:A Paper
Presented at the 50th Anniversaryof
the English Department Universitas
Negeri Malang. National Seminar.
Universitas Negeri Malang. Malang,
2 Oktober
C. CONCLUSION
The natural disaster video is one of the
alternative media in teaching and learning of
writing. The teacher could use natural disaster
video as the media in teaching of writing news
item text so it could help students write a news
item text. By using the natural disaster video,
the teacher could explain the generic structures and language features of news item text
easily from the played video. The use of
natural disaster video also contains the events
occurring in the audio-visual video so the
student could find information about the event
in certain time. Through natural disaster video,
the students can understand the generic
Allen, Edward. D. 2004. The teacher as a
Catalyst; Motivation in the Classroom. Malaysia : Pearson Education.
Bryne, Donn. 1991. Teaching Writing
Skills. Hongkong: Longman Group
Ltd.
Depdiknas. 2006. Kurikulum Kompetensi
Mata Pelajaran Bahasa Inggris Untuk
7
SMA. Jakarta:Pusat Kurikulum, Balitbang Depdiknas
Eltis, L.A. Wultur. 1998. A Genre Based
Approach to Teaching Writing Year
3-6. Australia: Common Publisher
El-Araby, S. A. (1974). Audiovisual Aids
For Teaching English: An Introduction To Material And Methods.
London: Longman Group Ltd.
Heaton, J.B. 1991. Writing English Language Test. New York: Longman Inc.
Lonergan, jack. 1984. Video in Language
Teaching. Cambridge. Cambridge
University press.
Pradiyono, M.Pd. 2007. Pasti Bisa. Yogyakarta: C.V. ANDI.
Stoller, L. Fredricka. (1990). Films and
Videotapes in the Content-Based
ESL/EF
Stoller, Fredica. 1994. Films and Videotapes
in the Content Based ESL/EFL Classroom. Washington: FGP Int.
Stempleski, Susan, Arcario and Tomalin,
Bary . 1994. Video in Action: Recipe
for using Video in Language Teaching. UK: Prentice Hall International.
www.youtube.com
http://www.neok12.com/NaturalDisasters.htm
http://en.wikipedia.org/wiki/NaturalDisasters
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PROSPECTS, JurnalHumaniora, Sains, PendidikandanPengajaran, Volume 5, Nomor 2,
1-7, Nopember 2015. ISSN 2302-6278
THE CHARACTER OF EDNA IN CHOPIN’S THE AWAKENING:
PROPPIAN FORMALISM
A.M. Aziz
STIBA “Satya Widya” Surabaya
[email protected]
Abstract
One encounters a detailed depiction of a major literary character in Kate Chopin’s
novelThe Awakening. The main character’s name is Edna Pontellier. Scrutinized with
Proppian Formalism, Edna’s character is portrayed in such a unique way that the delienation does not include her personality traits, but her proper name, her dwelling place, and
her preliminary presence in the narrative. From these outer depictions, one is able to
observe Edna’s inner qualities which consist of her life and death, her innocence, and her
maturity. Although Proppian Formalism is more widely known as a theory to read folktales than novels, the present endeavor concerning with Edna in Chopin’s The Awakening
successfully brings out what is beyond the surface. Edna, in this case, deals more with her
inner or spiritual self than her physical circumstances.
Keywords:character, formalism, life and death, innocence, maturity, self
A. INTRODUCTION
The Awakening is a novel emphasizing a major character. For this reason, one
may find a detailed elaboration of its main
character, Edna Pontellier. Roberts (2009:
173) points out that when a fiction takes
great pain in delineating a character, each
action or speech, no matter how small it is,
is a part of a total presentation of the complex combination of both the inner and the
outer self that constitutes a human being.
Edna is a human being in fiction to which
Kate Chopin gives a meticulous portrayal.
Her total presentation in the novel, therefore, may include her inner self; her life and
death as well as her innocence and maturity.
Vladimir Propp, one of important figures in Russian Formalism, has a unique
theory of characterization. This is due to his
using his theory to analyze Russian folk
tales. This does not necessarily mean, however, that the theory applies
to Russian folk tales only. Dundes (in Scott,
1968: 3) emphasizes that Propp’s theory is
clearly not limited to Russian materials and
thus it should be useful in analyzing other
forms of literary work, such as novels and
plays.
The uniqueness of Propp’s theory manifests, among other things, in the way he
defines the term character. It does not refer
to the personality trait of a character, but
“dengan sifat kita maksudkan seluruh kualiti
luar watak: umurnya,seks, pangkat, perawakan, keganjilan-keganjilan perawakan
dan seterusnya” (Propp, 1967: 103). Propp
further points out that “kajian mengenai
sifat-sifat watak menetapkan tiga tajuk asas
yang berikut: perawakan luar dan nama,
keperihalan mengenai pengenalan watak
kedalam naratif dan tempat penginapan
watak” (1967: 104). Is it possible to address
the inner self of a character by analyzing his
9
A. M. Aziz
or her outer self? Roberts (2009: 175) argues
that when reading about characters in literature, one must look beyond circumstances,
actions, and appearances and attempt to
determine what these things demonstrate
about character. One, therefore, must try to
get from the outside to the inside because it
is the internal qualities of character that
determine external behavior. The analysis of
the life and death as well as the innocence
and maturity of Edna Pontellier is focused
on her outward appearance and name, her
initial presentation in the narrative, and her
dwelling places.
married to a Creole, she is not completely at
home in the society of Creoles. Sheespecially cannot accept the Creole entire absence of prudery. Their freedom of expression
is initially incomprehensible to her, but willynilly she has to reconcile it with a lofty
chastity that in the Creole woman is likely to
be inborn unmistakable.
However, when the name, Mrs. Pontellier, is put together with the nature of her
eyes, it denotes the life of Edna. The eyes of
this married woman are quick and bright.
The eyes are free to swiftly turn upon an object and contemplate or think seriously
about it. Nothing can be a barrier to her
mind to work on her imagination. In this
case, Mrs. Pontellier’s mind keeps alive
even though to a certain extent she is dead
because of her marriage to Mr. Pontellier.
Mrs. Pontellier’s innocence can be
seen in the frankness of her facial expression. This means that her face expresses lack
of knowledge and experience of the world.
In terms of her status as the wife of a Creole
gentleman, her innocence manifests when it
is the first time she is so intimately thrown
among Creoles society. Even she is shocked
to know that it is common for the Creoles to
read a book openly while in Mrs. Pontellier’s culture such book should be read in
secret and solitude.
The maturity of Mrs. Pontellier is
shown in the contradictory subtle play of her
facial features. Mrs. Pontellier is definitely a
married woman. In Grand Isle, however, she
falls in love with Robert Lebrun. No matter
how hard she hides her feelings, she cannot
keep the mounting color back from her
cheeks when she sees Robert telling amusing
stories to a group of Creole women. In other
words, her cheeks blush when seeing Robert.
Her marital status, in this case, compels her
not to directly declare her love for Robert.
B. DISCUSSION AND FINDINGS
1. Edna’s outward Appearance and
Name
The main character’s maiden name is
Edna. In The Awakening, however, her marital status is married. Therefore, she bears her
husband’s name. Her new name as well as
her outward appearance are brought out in
the following narration:
Mrs. Pontellier’s eyes were quick and
bright; they were a yellowish brown,
about the color of her hair. She had a
way of turning them swiftly upon anobject and holding them there as if lost in
some inward maze of contemplationor
thought.Her eyebrows were a shade
darker than her hair. They were thick
andalmost horizontal, emphasizing the
depth of her eyes. She wasrather handsomethan beautiful. Her face was captivating by reason of a certain franknessof expression and a contradictory
subtle play of features. Her mannerwas
enga-ging. (p. 494)
Her name, Mrs. Pontellier, suggests
the death of Edna. When she gets married,
she is tied to her husband. She is also tied to
the culture of her husband. Edna is not a
Creole, but her husband is. Though she gets
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This shows that Mrs. Pontellier is a mature
woman.
On the other hand, her marital status
as a married woman does not prevent her
from getting along with a male friend. This
indicates the life of Edna. She finds it does
not matter to spend her free time with Robert Lebrun at the beach. This means that
Edna is still free to be herself or to do what
she wants in spite of the fact that she is married. She does not yet completely lose her
freedom.
The innocence of Edna can be seen in
the fact that Edna is young and she befriends
with Robert who is young too. Edna is twentyeight years old. Because they are innocent, they directly take a rest on the porch
by seating themselves facing each other in
the presence of Edna’s husband, Mr. Pontellier. Edna and Robert are not afraid at all
that Mr. Pontellier might be jealous or angry
with them as the result of seeing their close
togetherness.
The maturity of Edna is delineated in
her returning home from the beach. This
means that Edna’s mind is so fully grown
and developed that she is aware of her status
as the wife of Mr. Pontellier who has an
obligation to come home to the Pontelliers’
residence. No matter how happy she is with
Robert Lebrun at the beach, she has husband
and children to take care of.
2. How Edna is Introduced in the
Narrative
The way Kate Chopin introduces
Edna in The Awakening also signifies her
life and death as well as her innocence and
maturity. Edna first appears in the novel
when she and Robert return from the beach
to the Pontellier’s cottage. The following
fragment illustrates this:
Mr. Pontellier finally lit a cigar and
began to smoke, letting the paperdrag
idly from his hand. He fixed his gaze
upon a white sunshade that wasadvancing at snail’s pace from the beach. He
could see it plainly betweenthe gaunt
trunks of the water-oaks and across the
stretch of yellow camomile.The gulf
looked far away, melting hazily into the
blue of the horizon.The sunshade continued to approach slowly. Beneath its
pink-linedshelter were his wife, Mrs.
Pontellier, and young Robert Lebrun.
Whenthey reached the cottage, the two
seated themselves with some appearanceof fatigue upon the upper step of
the porch, facing each other, each leaningagainst a supporting post. (p. 494)
3. Edna’s Dwelling Place
Edna’s status as the wife of Mr. Pontellier when she is introduced in the narrative indicates her death. Edna gets married
to a Creole husband. It is the culture of the
Creoles society that a woman is supposed to
idolize her children, worship her husband,
and esteem it a holy privilege to efface herself as an individual and grow wings as a
ministering angel. This means that Edna
should sacrifice herself for the sake of her
husband and her children. It is likely that she
loses the freedom to be herself after marriage.
In The Awakening, Edna has at least
three dwelling places. First, it is the summer
resort of Grand Isle, a small hotel located
fifty miles off the coast of New Orleans.
Second, it is the Pontelliers’ fashionable
home in New Orleans. Third, it is a house
around the corner which is dubbed the
“pigeon house” because it is so tiny. Each of
these three places describes life and death as
well as innocence and maturity of Edna
Pontellier. As for Edna’s dwelling place at
Grand Isle, Kate Chopin illustrates it in the
fragment as follows:
11
A. M. Aziz
Mr. Pontellier, unable to read his newspaper with any degree of comfort,arose
with an expression and an exclamation
of disgust.He walked down the gallery
and across the narrow “bridges” whichconnected the Lebrun cottages one with
the other. He had been seatedbefore the
door of the main house. The parrot and
the mockingbird werethe property of
Madame Lebrun, and they had the right
to make all thenoise they wished. Mr.
Pontellier had the privilege of quitting
their societywhen they ceased to be entertaining. (p. 493)
The innocence of Edna is brought out
by how the parrot and the mocking bird represent her. The birds are free to make noise
without thinking much about whether the
noise disturbs others or not. The same thing
goes to Edna. She is free to “make noise” by
getting along with people in the surrounding
cottages without being afraid of making Mr.
Pontellier jealous. In fact, the birds disturb
Mr. Pontellier and the intimacy between
Edna and Robert Lebrun disturbs theharmony of her wedded life with Mr. Pontellier.
The maturity of Edna is also brought
out by how the parrot and the mocking-bird
symbolize her. No matter how noisy the
birds are, they are put in a cage and thus it is
up to the owner where to put the cage. The
parrot is hung in a cage outside the door
while the mocking-bird is hung on the other
side of the door. The same thing happens to
Edna. As a mature housewife she is willing
to accompany her family to spend the summer vacation at Grand Isle. At the end of the
summer, Edna is willing to follow her family to return to their home in New Orleans.
In New Orleans, Edna dwells in the
Pontelliers’ home which is illustrated as
follows:
The Pontelliers possessed a very charming home on Esplanade Street inNew
Orleans. It was a large, double cottage,
with a broad front veranda,whose
round, fluted columns supported the
sloping roof. The house waspainted a
dazzling white; the outside shutters, or
jalousies, were green. Inthe yard, which
was kept scrupulously neat, were
flowers and plants ofevery description
which flourishes in South Louisiana.
Within doors theappointments were
perfect after the conventional type. The
softest carpetsand rugs covered the
floors; rich and tasteful draperies hung
at doors andwindows. There were pa-
Edna’s death can be seen in how Kate
Chopin describes Mr. Pontellier’s living in
the cottage in patriarchal way. Mr. Pontellier’s activities are sitting, reading the newspaper, and walking around. It can be inferred that it is the wife who has obligations to
do the housework and take care of the children. Though the Pontelliers has a servant or
a nurse, the important point is that women
do the household chores and men work outside the house. When at home, men take a
rest, for example, by sitting, reading, and
walking around the house. Even Mr. Pontellier has a special right on his society if
they are no longer entertaining. This means
that he has the right to warn Edna if she
forgets what she should do as a housewife.
Edna, in this case, loses her freedom to a
certain degree.
How Chopin describes Mr. Pontellier’s living in the cottage in a patriarchal
way at the same time denotes the life of
Edna. Edna in this episode does not need to
find another dwelling place. In addition, she
does not need to find a job to make money.
Mr. Pontellier is ready to shelter her and to
pay for her living. This means that Mr.
Pontellier has fulfilled the physical necessities of Edna’s life.
12
1-7, Nopember 2015. ISSN 2302-6278
intings, selected with judgment and discrimination,upon the walls. The cut
glass, the silver, the heavy damask
whichdaily appeared upon the table
were the envy of many women whose
husbandswere less generous than Mr.
Pontellier.Mr. Pontellier was very fond
of walking about his house examining
itsvarious appointments and details, to
see that nothing was amiss. He greatlyvalued his possessions, chiefly because they were his, and derived
genuinepleasure from contemplating a
painting, a statuette, a rare lace curtain
—no matter what—after he had bought
it and placed it among his householdgoods. (p. 519)
for Edna. Mr. Pontellier considers Edna his
property and he greatly values his property
or possessions mainly because they are his.
She has been married to Mr. Potellier for six
years. During these six years Edna has accepted to be treated as Mr. Pontellier likes it.
Edna is so innocent that so far she has never
been against such treatment like an object of
possession. Though the treatment is favorable, human being is never like an object of
possession.
How Mr. Pontellier’s possessions
symbolize Edna at the same time signifies
the maturity of Edna. To Mr. Pontellier’s
eye, nothing is amiss when he walks about
his house to examine its assorted appointments and details. In fact, Mr. Pontellier
only pays attention to the surface or outward
qualities. He misses the inward ones. Edna
who has grown and developed mind realizes
that there is something that she does not get
from the luxuries of her physical world.
Therefore, she begins not to obey her husband by not putting on her reception gown
on Mrs. Pontellier’s reception day.
In addition to the Pontelliers’ home,
Edna has another dwelling place in New
Orleans. It is called the “pigeon-house”.
Edna decides to abandon the Pontelliers’
home and takes up her residence in the
“pigeon-house”. The “pigeon-house” and
how Edna reacts to it are portrayed in the
following fragment:
The pigeon house pleased her. It at
once assumed the intimate characterof a
home, while she herself invested it with
a charm which it reflectedlike a warm
glow. There was with her a fee-ling of
having descended in thesocial scale,
with a corresponding sense of having
risen in the spiritual.Every step which
she took toward relieving herself from
obligations addedto her strength and
expansion as an individual. She began
Similar to the cottage at Grand Isle,
the Pontelliers’ home is elaborated in a
patriarchal way. The home is dominantly
connected with Mr. Pontellier. This suggests
that Edna lives in the home under the domination of her husband and thus it signifies
the death of Edna. In this case, Edna has to
follow the rules set by her husband for her.
For example, on Mrs. Pontellier’s reception
day, Edna does not wear her usual reception
gown. Instead, she wears ordinary house
dress. This becomes something to observe
for Mr. Pontellier.
Such patriarchal elaboration at the
same time denotes the life of Edna. Mr.
Pontellier provides Edna with a very charming home. Even many women envy Edna’s
living in a home with the cut glass, the silver, and the heavy damask which appeared
on the table everyday. These women must
think that Edna lives a better life than they
do. Superficially, this assumption is true
because they do not know what happens
with the inner life of Edna. So, Edna’s life
here is only in the surface level.
The innocence of Edna can be seen in
how the possessions of Mr. Pontellier stand
13
A. M. Aziz
developed mind, it is Edna’s own decision
to select which one is the best for her physical and spiritual life.
to look with herown eyes; to see and to
apprehend the deeper under-currents of
life. Nolonger was she content to “feed
upon opinion” when her own soul
hadinvited her. (p.543)
C. CONCLUSION
The life and death as well as the innocence and maturity of Edna Pontellier can be
analyzed through the characterization theory
of Proppian Formalism. Though famous for
its superiority in studying the Russian fairy
tales, Proppian Formalism can also be used
to analyze literary works such as novels and
plays originated outside Russia. As for Kate
Chopin’s The Awakening, Proppian Formalism succeeds in uncovering the physical
and spiritual life and death as well as the
physical and spiritual innocence and maturity of Edna Pontellier. The novel also depicts the inner and outer self of Edna
Pontellier in detail. The novel’s purpose,
however, emphasizes more on the main
character’s inner or spiritual self.
The life of Edna can be seen in how
the “pigeon-house” pleases her. It provides
Edna with intimacy and Edna provides it
with charm. As a result, the “pigeon-house”
not only has good outward but inward
quality as well. Intimacy suggests that Edna
feels her soul is close and friendly with her
body. Charm refers to the outward quality.
Edna is able to produce it because she is
beautiful and her manner is engaging.
Therefore, Edna makes the “pigeon-house”
look attractive.
The death of Edna can be noticed in
the existence of obligations that have burdened her so far. She has been obliged to
obey her husband, to take care of her children, to practice the habits and customs of
the Creoles society, etc. By dwelling in the
“pigeon-house”, she relieves herself from
obligations and it adds her strength and
expansion as an individual.
Edna’s innocence is brought out by her
tendency so far to follow other people’s
opinion. Her lack of knowledge and experience in life compels her to obey her husband and Creole people in her surrounding.
While staying in the “pigeon-house”, however, she trusts her soul. She puts the invitation from her soul into priority. Therefore,
she is willing to leave the Pontelliers’ home
to begin to dwell in the “pigeon-house”
because it is the calling from her soul.
Edna’s maturity is demonstrated in
her beginning to see and to understand the
deeper level of life’s undercurrents. There
are some influences in Edna’s life. They
may come from her husband and her society. As an individual who has grown and
REFERENCES
Chopin, Kate. The Awakening in Donald
Keesey. 1994. Contexts for Criticism.
Mountain View, CA: Mayfield pp.
493-555.
Dundes, Alan. “Introduction to the Second
Edition” in Laurence Scott
(trans.).1968.Excerpts
from:VladímirProppMorphology Of
The Folk Tale1928. The American
Folklore Society And Indiana
University.
Propp, V. 1967.MorfologiCerita Rakyat
(trans. NoriahTaslim). Kuala Lumpur:
DewanBahasadanPustakaKementeria
nPendidikan Malaysia.
Roberts, Edgar V. 2009. Literature: An
Introduction to Reading and Writing
(9thEdn). New York: Longman.
14
1-7, Nopember 2015. ISSN 2302-6278
DIRECTIVE ACTS FOUND IN BOYS IN CONTROL
BY PHYLLIS REYNOLD NAYLOR
Yulia Istiqfarrochmah
Hardono
STIBA SATYA WIDYA SURABAYA
Abstract
The study is about the directive acts found in Boys In Control by Phyllis Reynold
Naylor. Itdescribes the four kinds of directive acts used by the characters namely,
personal need, permission request, imperative and imbedded imperative. It aso explains
how the characters use three types of sentence as the ways of using the directive acts
namely declarative, interrogative, and imperative.
Keywords: directive acts.
A. INTRODUCTION
Language is an important thing in
people’s life since they do not live alone in
this world. As social beings, people need to
communicate each other and language becomes a unique human tool in expressing
ideas and thought. In communication,
people use language in written and spoken
forms which show that language is a
versatile means of communication in the
society.
Language has various functions in the
society especially in the way it is spoken
while it is used in communication. For
example, speaker and hearer are connecting
each other by making communication when
they are sharing their feelings. Sometimes
people use language to get someone else
perform an action for them or even to
influence the hearer’s behaviour. Overall,
language enables people to do something, to
know each other, to inform or get information, etc. These phenomena make the
writer wants to know more about the use of
language in communication.
In real communication, people perform many things through their utterances,
for example they express their feeling,
promise to do something, explain something
or ask others to do something for them. Of
course it is not easy to ask people or to
make people do something, that is why
speakers need to be able to use their language in order that people will not be offended
by what they say.
The writer is interested in analyzing
one of the aspects of language in use namely
directive acts because directive act is used
by people in their communication to affect
the behaviour of someone else’s and sometimes to force others to do something that
they want.
1. Directive Act
As it is stated by Yule (1995:129),
“Directive is a speech acts used to get
someone else to do something”. Meanwhile,
Ulrich Busse (2008:88) explains that in the
broadest sense directives are speech acts by
means of which the speaker request the
hearer(s) to do (or not to do) certain things.
They are performed with the intention of
commiting the addressee to some future
course of actions in order to make the world
fit the words via the hearer”.
15
Hardono
The utterance “May I leave the room?”
shows that the speaker asks permission to
the hearer because he wants to leave the
room and the hearer may agree or disagree
to it, so the hearer will give his permission
or prohibit him for leaving the room.
2. Kinds of Directive Act
To account for the choise of directive
form, Ervin-Tripp (1976) classifies directives into five types. They are:
a. Personal Need or Desires Statement
“Personal need or desire statements
refer to the speaker’s wants. Personal need
or desire statements are very direct and
therefore unambigous”. This statement, explains that in personal need or desire statement, the speaker tells his wants directly in
order to be fulfilled by the hearer. The
statement is clear and direct so it can be
understood by the hearer directly.
For example: I need or I want some sugar.
The utterance “I need or I want some sugar”
shows that the speaker wants the hearer to
do something for him that is give him some
sugar.
e. Hints (sometimes with Humour)
Hints are utterance with implicit
message and also advice which are non-direct and non-explicit. From this statement, it
can be known that speakers advice or tell
their messages to the hearer indirectly.
For example: “Look,” she said to her friend
and her friend looks of shy.
The utterance “Look,” can be identified that
the speaker give a sign to the hearer bacause
someone who is loved by her friend is
coming and the speaker has a close relationship with the hearer. This type usually
contains directive utterance with humour.
b. Imperative
“Imperative is a command or order
which is given by the speaker to the hearer”.
For example: Give me some sugar.
The utterance “Give me some sugar” shows
that the speaker orders the hearer to give
something, that is to give him some sugar.
3. Performative Utterance
Blake (1990: 87) mentioned that “Request can occur in these forms: imperatives
(command), declaratives (statement), or
interrogatives (question)”.
a. Declarative (Statement)
According to Blake (1990: 87) “Declarative has the least force. It asserts that
the speaker can ask the hearerto do something without any insistence”. e.g: “It is time
for you to leave.” It means the speaker
reminds the hearer that it is time for him to
leave. The hearer may receive or refuse the
speaker’s requestby staying or leaving because the speaker’s request has least force.
c. Imbedded Imperative
“Imbedded imperative is a polite request rather than a command which is given
by the speaker to the hearer”.
For example: Could you give me some
sugar (please)?
The utterance “Could you give me some
sugar (please)?”, is not a question although
it is in question form but it is actually a
polite request words by the speaker to the
hearer to give him some sugar.
b. Interrogative (Question)
Blake (1990: 87) describes “Interrogative has more force than declarative. It
asserts that there is any little stronger
insistence to the hearer. The addition or
omission of a negative may also vary the
force of an utterance”. e.g: “Isn’t it time for
d. PermissionDirective
Permission directive is the utterance
of the speaker in order to get the permission
from the hearer.
For example: May I leave the room?
16
1-7, Nopember 2015. ISSN 2302-6278
you to leave?” it shows the speaker gives a
request with more force rather than a
question.
e.g: “Please eat your food!” it means the
speaker asks the hearer to eat his food by
using please word, so the insistence of the
speaker’s utterance can be declined with a
polite words.
c. Imperative (Command)
Blake (1990: 87) describes “Imperative has the most force. It states that the
speaker utters and asks the hearer to do
something. The hearer must obey what the
speaker has already said to him. The addition of address formsuch as a title of name,
or a politeness formulasuch as please, it will
normally reduce the forceofanut-terance”.
B. FINDINGS AND DISCUSSIONS
In this part, the researchers discuss
the kinds of directive acts and performative
utterances through the table. Then, they also
describe theresult of the analysis in the
following table:
Table 1. The Kinds of Directive Acts
The Kinds of Directive Acts
Frag
Utt
Personal
Need
Imperative

1
(1.1)
2
(2.1)

3
(3.1)


(3.2)
4
(4.1)
5
(5.1)
(5.2)
Imbedded
Imperative



6
(6.1)

7
(7.1)

8
(8.1)

(8.2)

9
(9.1)

10
(10.1)

11
(11.1)

17
Permission
Directive
Hint
Hardono
12

(12.1)

(12.2)

13
(13.1)
14
(14.1)

(14.2)

(15.1)

(15.2)

(16.1)

(16.2)

(16.3)

(16.4)

(17.1)

15
16
17

(17.2)
18
(18.1)

(18.2)


(18.3)

(18.4)

(18.5)
19
(19.1)

20
(20.1)

(20.2)

(20.3)

18
1-7, Nopember 2015. ISSN 2302-6278

(20.4)
Table 2. The Performative Utterance
Performative Utterance
Frag
Utt
Declarative
Interrogative
Imperative

1
(1.1)
2
(2.1)

3
(3.1)


(3.2)
4
(4.1)
5
(5.1)


(5.2)

6
(6.1)

7
(7.1)
8
(8.1)

(8.2)

9
(9.1)
10
(10.1)
11
(11.1)
12
(12.1)



(12.2)

13
(13.1)

14
(14.1)

(14.2)

19
Hardono
15
16
17
(15.1)

(15.2)

(16.1)

(16.2)

(16.3)

(16.4)

(17.1)


(17.2)
18
(18.1)

(18.2)


(18.3)
(18.4)

(18.5)


19
(19.1)

20
(20.1)

(20.2)

(20.3)


(20.4)
Based on the findings above, it can be
described that the characters in the story
often use directive acts in their communication which can be described as follows:
personal need appears three (3) times, imperative eleven (11) times, imbedded imperative twenty two (22) times, permission
directive once. Besides the four mentioned
above, there is also one classifications of
directive acts which is never used by the
characters, it is hint.
The characters use personal need
when they tell their wants. When the characters want to command someone, they use
imperative. The characters also use imperative when they want to ask information
20
1-7, Nopember 2015. ISSN 2302-6278
from someone. It will be different if the characters order to get the permission, they use
permission directive. The characters never
use hint because they do not have an authority to other to use hint.
After knowing the kinds of directive
acts which are used by the characters, it
continues how directive acts are used by
applying the three types of sentence. Those
types of sentence are declarative, interrogative, and imperative. Based on the types
of sentences there are two types which are
mostly used by the characters. Those types
are interrogative and imperative. Interrogative appears twenty three (23) times, and
imperative eleven (11) times. The types of
sentence which appears only three (3) times
is declarative.
They use interrogative when they
want to ask for information from someone.
The characters use imperative when they
want to make an order and request and they
use declarative to affect someone to do
something without insistence. Finally the
writer can say that directive acts are always
used based on the social contexts of situation of the speakers to whom those directive
acts are addressed.
declarative 3 (three) times, interrogative 23
(twenty three) times, and imperative 11
(eleven) times.
REFERENCES
Blake, N. F. 19990. An Introduction to the
Language of Literature. London:
Mac Millan Ed Ltd.
Ervin-Trips, S. 1976. Is Sybil There? The
Structure of Some American
English Directives in Language in
Society no. 5. New York: Holt,
Rinehart and Winston.
Ulrich, Busse. 2008. Speech Acts in the
History of English. Amsterdam:
John
Benjamin
Publishing
Company.
Yule, George. 1996. Pragmatics. Oxford:
Oxford University Press.
C. CONCLUSION
Based on the research findings
above, it can be concluded that directive
acts is one of the function of language
which is used to get someone else to do
something. There are four kinds of directive
acts used by the characters those are personal need which appears 3 times, imperative 11 times, imbedded imperative 22
times, and permission request 1 time.
Meanwhile hint is not found in the source of
data.
The way how the characters use
directive acts are/using types of sentence.
From this analysis, the characters use
21
Hardono
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1-7, November 2015. ISSN 2302-6278
CODE-SWITCHING ON “SUROBOYO NYAMBUT GAWE” FOUND IN
LOCAL LANGUAGE OF SURABAYA
Norita
Pusat Bahasa ITATS Surabaya
Abstract
This study is concerned with the language that people use in local market in Surabaya
found in Surabaya TV. Many people use more than one language when they are talking
because in their places there is usually more than one language used. Despite the latter
fact, it is only a small phenomenon of language shifting. It means that they tend to switch
their languages in certain contexts of speaking. The switching language is known as a
code-switching. The code switching means using alternations of linguistic varieties within
the same conversation. Furthermore, the code-switching is the use of one more language
in a sentence, dialect, or style. Based on the observation there were three factors that
influenced people‟s language: (1) the place and interlocutors, (2) the ethnicity and (3) the
tendency to adjust themselves with the speaking community. Like in Surabaya, many
people in Surabaya use more than one language, Suroboyoan and Indonesian. So, many
people use two languages although they are not Surabaya people. We can see the reality
from local TV in Surabaya, as in Surabaya TV. Many ethics and people from other places
used Suroboyoan language.
Key Words: code-switching, Suroboyoan, Bahasa Indonesia, TV Program
A. INTRODUCTION
(1983: 291) states “Speech is one of the features that distinguishes most of human beings
clearly from other species and therefore, its
function in the life of man is a necessary
part”.
A language is needed for human being
for their communication. Without communication they will get much misunderstanding.
The language is a tool of communication
therefore language cannot be separated from
human life. Palme (1983) states that the technical term used to refer to the study of meaning. The meaning itself is a part of language,
a part of linguistics. It helps the people know
what the others mean and want. In order to be
able to talk meaningfully about anything, it is
necessary to agree on meanings of the words
involved. In everyday life, people reach the
practical agreements of almost of all the
words they use and make it effective. Stern
Linguistics, as a science, must not be
concerned with specific instances but generalization is the concern. Ferdinand de Saussure (indicates this point, by stating the
diction between language (langue) and performance (parole). Speaker meaning is what
a speaker means when he utters a piece of
language. Soekemi (2000: 3) states “speaker
meaning can include both courtesy and
hostility, praise and insult, endearment and
23
Norita
provoking”. The social relationships formed
and maintained by the use of language are
not necessary courteous and amicable. The
meaning of words, phrases, and sentences
can safely be taken as known to competent
speakers of language.
There are many languages which help
people communicate more easily. Many
people use more than one language in their
single conversation. Frequently, the people
switch two languages in their communication. Yet, the switching only occurs in few
sentences or phrases then the speakers are
back to the latter language, code. The codeswitching does not only happen in the twoway communication but also in the media
mass, such as television broadcast. For example, a reporter interviews someone in a place
which has more than a language, like Surabaya. So, code-switching is likely to happen.
Furthermore, it is not only in a direct communication but also an indirect communication.
The television broadcast, mostly, is one of
the media indirect communications that help
the people to have one-way communication.
In the scope of sociolinguistics, media as
social are institutions to develop communication.
This study discusses the code-switching which is used to interview the sellers in
Pasar Atom Mall Surabaya by Cak Iga,
Surabaya TV reporter in the program of
“Surabaya Nyambut Gawe”.
bilingual speakers uses more than one
language in a single utterance above the
clause level to appropriately convey speaker‟s intents.
Utterances containing code-switching
show the same “discourse unity” as utterances in one linguistic item. When the person
does switching within a single sentence, the
elements from the two different languages
are generally joined. The linguistics varieties
in code-switching may be different
languages, or dialects, or styles of the same
language.
Sometimes the code-switching is
influenced interpersonal relation (Coulmas,
1998: 149). The use of code-switching in
social functions on a micro-level reflects
group values and norms associated with the
varieties in a community. Fischer in
(Cárdenas-Claros, 2009) notes that three
contextual factors should be taken into codeswitching. The first is the relationship
amongst speakers. Second is the setting
where the talk takes place and the last is the
topic being discussed by the speaker.
2. Surabaya Language
The Surabaya dialect, more commonly
known as "Bahasa Suroboyoan", is a Javanese dialect spoken in Surabaya and the surrounding areas. These dialects are evolved
and used by some people in Surabaya and the
surrounding areas. Structurally this language
is the harshest. However, the Javanese
language with a smoother level is still used
by some people of Surabaya (arek Suroboyo)
as a form of respect to others. The use of
polite Javanese (madya and krama) among
the people of Surabaya is not as smooth as
1. Code-Switching
Code-switching is the term used to
identify alternations of linguistic varieties
within the same conversation(Myers-Scotton,
1993). The code-switching occurs when a
24
1-7, November 2015. ISSN 2302-6278
the use of it in Central Java, Yogyakarta and
Surakarta, as the use of it in Surabaya context
is much on mixing words. The Javanese
which is generally considered as Suroboyoan
dialect is the harshest form of Javanese.
However, in fact, it shows the attitude of
firmness, straightforwardness, and frankness.
Surabaya people‟s way of talking directly
influences the attitudes while having a talk.
The attitude of Javanese‟s courtesy is not
reflected in the life of theirs. For example in
speaking, wong jowo should not be looking at
the eyes of the person who is older or owns
higher social position because it is considered
disrespectful. However for arek-arek Suroboyo, it indicates that the person is a true
coward because he does not dare to look at
the eyes of the person.
Surabaya people use a greeting item
"rek" as their greeting typical which has
meaning guys in English. They usually use it
as this way "Rek, ayo mlaku-mlaku nang
Tunjungan". It means "guys, let‟s go to
Tunjungan". The typical item of “rek” in the
Suroboyoan dialect actually initiates the
friendliness to the listeners. The typical is not
only in the greeting term but also in the
sound change. They often change the /i/
sound to the /e/, for example the word “titip”
/titip/ is pronounced as /tetep/ as well as the
change of the /u/ sound to /o/ as in the word
"tutup" /tutup/ becomes /totop/. Furthermore,
for Surabaya people, Suroboyoan dialect is
the identity for them because it is different
with Bahasa Jawa in other cities
(http://julaeha-kartiningsih-fib14.web.unair.
ac.id).
Besides Suroboyoan dialect, Surabaya
people often use Indonesian language and
sometimes a little bit of English to communicate with others. In actuality, the codeswutching process in Surabaya does not only
include the previous three languages, but also
can be four or more langauges included
within. The factor contributing to it is the fact
that Surabaya, nowadays, is not only populated by original Suroboyo people but also
new comers from some areas of Indonesia as
from Madura, Medan, Jakarta and so on.
3. Population in Surabaya
Describing the population of Surabaya, Javanese is the major ethnic in
Surabaya. 83.68% of the total population
belongs to Javanese ethnicand the rest of it is
shared by various ethnics of Indonesia,
Madurese (7,5%), Chinese (7.25%), Arabic
(2,04%), and the other ethnic groups such as
the Balinese, Batak, Bugis, Manado, Minangkabau, Dayak, Toraja, Ambon, Aceh and
other foreign residents
(http://dinkominfo.surabaya.go.id/dki.php?ha
l=30).
4. TV Station in Surabaya
Surabaya has eleven local TV stations;
one of it is Surabaya TV. Surabaya TV is a
local television in Surabaya broadcasted in
Surabaya and its surrounding areas (Gresik,
Jombang, Mojokerto, etc). Surabaya TV was
formed on May 31, 2004 to celebrate the
711th birthday of Surabaya. Surabaya TV is
broadcasted on 44 UHF. Surabaya TV now is
on air at 05.00-24.00 pm and at 06.00-24.00
pm. One of the programs of Surabaya TV is
Surabaya Nyambut Gawe. It is the porgram
in which this paper should like to take
investigation dealing with the code-switching in Surabaya.
25
Norita
bayine. (Audience, it turns out that there is a
cheap baby box. If you want to lay your baby
with you in the same place, here is the box.)
Form the first conversation, the reporter used Javenese Suroboyoan, but the first
seller mostly answered in Indonesian. Actually, the first seller was a Javanese. However,
the dialect which was used by the second
seller was the Javanese dialect. This condition occurred because the place where they
talked and the speaking partners influenced
the language use (Fischer, 2009).
Further analysis found that the camera
brought by the reporter influenced first
seller‟s language. She thought that she was in
television so she spoke Indonesian fluently
and the dialect changed like Jakarta people.
She thought that it could increase her social
status as an artist because she was in TV. In
fact, she knew well about Javanese or Suroboyoan language. Although she used Indonesian as her language when Cak Iga was
interviewing her, Cak Iga continued using
Suroboyoan language to create friendly
situation. As the interview went on, the
interlocutor‟s language was able to influence
the language of the speakers‟. Cak Iga used
Suroboyoan language and the seller switched
her language between Indonesian and
Surabaya language although she tried to keep
her image in front of camera. It is different
from the second seller. She used Suroboyoan
language as her language.
In the last part of the first conversation, Cak Iga switched into three
languages, Indonesian, English, and Suroboyoan. In fact, his dialect is influenced by
Suroboyoan language although he used
B. FINDINGS AND DISCUSSION
On the day of the observation, Cak
Iga, the presenter of Surabaya TV, came to
Pasar Atom Mall to have a talk with two
sellers there. He led one of the Surabaya TV
programs, Nyambut Gawe program. This
program was held at 3 p.m. on Monday.
Cak Iga called the viewers with “bolo”
or “dulur”. He mentioned bolo or dulur as
typically friend greeting. Then, he called
mbak or ning for women and cak or mas for
men. When he spoke, Cak Iga did not use
Suroboyoan code all the time. He tended to
switch with Indonesian and little bit of
English as OK. Not only Cak Iga but also the
interviewee by the presenters also switched
their language.
In this section, Cak Iga came to two
stores. The first store was the store sold the
baby needs and the second store was a
souvenir store. In the first store, the sellers
and Cak Iga spoke Suroboyan many times
but sometimes switched to Indonesian
language. Here is the conversation:
Cak Iga: Hargane piro iki ning? (How
much is the price?)
Seller 1: Delapan ratus lima puluh. (It
is eight hundred and fifty thousand rupiahs).
Cak Iga: Murah yo. (It is cheap, isn‟t
it?)
Seller 2: Iyo, gak sampek sak juta.
(That‟s right. It is less than one million.)
Seller 1: Mangkane belien ta mas.
(Then go ahead.)
Cak Iga: Pemirsa ternyata ndek kene
onok box bayi murah. Soale, jika anda
pengen nurokno bayi sampean bahkan
sampean karo bojo sampean, yo iki nggon
26
1-7, November 2015. ISSN 2302-6278
Indonesian or English. The word "box" in
Indonesian means kotak. Cak Iga did not say
kotak bayi but box bayi. Generally spoken,
the word Box bayi is more familiar to hear by
the local television viewers, thus Cak Iga
used box bayi as the phrases. Then, he used
anda (you) to call his viewers because anda
is a polite greeting term of Indonesian to
address the viewers rather than using koen
(the second person pronoun). However, in
another conversation, he used sampean (the
polite form of koen in Javanese) to call his
audiences. In this case, sampean and anda
have same meaning and language level. The
use of the polite form of greeting term was
supposed to create a respectful image of the
presenter to the viewers although the presenter did not know who was watching the
program.
In the last section on the first store, Cak
Iga gave joke to the audiences to create good
atmosphere. Then, it would not create
monotonous situation. He also switched his
language while making a joke, from Suroboyan to Indonesian. It was hard to give joke
in Suroboyoan language because at this time
the joke would work well in Indonesian
language. So, the reporter switched the
languages, Indonesian and Suroboyoan, to
make the audience understand.
For the second conversation, Cak Iga
came to another store, a souvenir store. At
this store Cak Iga talked to the store‟s owner.
Their conversation was not really different
from the first conversation. Both of the
speaker switched their languages when they
talked. This was the script of the second
conversation with the owner of souvenir
shop.
Cak Iga: Bu Susan, sampean bukak
toko nang kene mulai kapan? (Mrs. Susan,
when did you start opening a store here?)
Bu Susan: Lima tahun yang lalu pak. (It
was five years ago.)
Cak Iga: Ngedol opo ae bu, ben dolor
nang omah isok ngerti. (What do you sell? To
inform the viewers.)
Bu Susan: Ini ada souvenir, handuk,
dan lain-lain. (There are souvenirs, towels
and many more.)
Cak Iga: Kiro-kiro piro bu regone?
(How much is the price?)
Bu Susan: Murah, pak. Paling murah
lima ribu (smile again). (It is cheap sir. The
cheapest is five thousand.)
Cak Iga: Dolor, nek sampean pengen
golek souvenir ta mbordir-mbordin kain, iso
teko nak Pasar Atom. Ok bu, opo artine
Susan? (Guys, if you should like to buy
souvenirs or embroideries, you can come to
Pasar Atom. Okay mom, do you know the
meaning of Susan?)
Bu Susan: Ndak eroh pak. (I do not
know sir)
Cak Iga: Su iku artine baik, san suka
menolong. Dadi Susan iku suka menolong
yang baik. Iyo to Bu? (Su means good and
san means jeen on helping. So, Susan means
keen on helping for good things. Is that
right?)
Bu Susan: (only smiling)
Cak Iga: Makane dulur, kerjo seng
bener cek isok nyenengno anak bojo. (Thus
guys, work well to make your spouses and
children happy.)
Susan is a Chinese. The Chinese
ethnic almost dominates the markets in
Surabaya and the employers are Javanese
27
Norita
meaning in English is the same as “let". Cak
Iga did not only switch his language into
Suroboyoan and Indonesian but also in
English. He used "ok" to continue his conversation. He used "ok" because it was hard
to change "ok" in Javanese or Indonesian.
Actually, now the word "ok" is in common
use in Indonesian, like “download” and
“browsing”. So, all of the people observed
here almost switched their languages to deliver their ideas. It is known that people in
general can switch between different ways of
interpreting events and feelings – a
phenomenon known as frame shifting (Luna,
2008).
From the analysis, there were many
factors contributing to the code-switching
occurring in those two conversations. The
first reason is that they are hard to look for
the vocabulary of those words in a certain
language. Thus, they tend to switch their inuse language to another accommodative
language. The second is that code switching
made the listener understand the meaning of
the speaker more easily. The third factor
drove to the situations that the speakers were
facing. If the situation was cheerful, they
switched their languages. The penultimate
factor is that the topic which they were
talking about also influenced their languages.
Then, the last is dealing with the interlocutors
they are having a talk.
people. Then, the ethnic in Surabaya uses
Indonesian to communicate and sometimes
the Chinese people switch their language
become Suroboyoan. Actually, they are able
to speak Suroboyoan as common Sura-baya
people but many of them try to keep their
prestige as a Chinese by using Indo-nesian.
The Chinese ethnic is minority but their
economic is in higher rank than Javanese
people‟s. This problem created asymmetry
between those ethics because Chinese people
usually think that their level is higher than
Javanese people (Ghalih: 2010).
It also happened to Susan. When Cak
Iga was interviewing Susan, She replied at
his questions in Indonesian. It might be used
as an appreciation to her customers because
the use of language depends on the relationship of the people (Fischer in (CárdenasClaros, 2009)). However, Susan spoke
Suroboyoan in some occasion. It was proved
from Susan‟s reaction to Cak Iga‟s joke. She
answered the joke using Indonesian but she
switched into Suroboyoan for several words
as "ndak" (means no) and "eroh" (means
know).
In this conversation, Cak Iga did not
only use Indonesian and Suroboyoan but also
Javanese language from other cities. Actually, Javanese language from other cities is
almost the same but the dialect and also few
phrases or words are different. Aji (2013)
stated "Javanese languages are diversed and
this diversity is still growing till this time
from the spoken form and written documenttation". There was a word "ben" (let). This
word is used out of Surabaya, like Madiun,
Nganjuk, etc. The word "ben" has the same
meaning with "cek" in Suroboyoan and the
C. CONCLUSION
Many people use more than one
language when they have communication
with others. There are reasons which influence their languages as the place and
interlocutors. If they talk with their boss,
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1-7, November 2015. ISSN 2302-6278
they will use formal languages. It will be
different if the speaker talks with his friend.
So, the first conclusion is that the places and
the speaking partners can influence the use of
language (Fischer in (Cárdenas-Claros,
2009)).
People‟s ethnic was influential to the
language also, especially Chinese. The
Chinese people tended to switch their
languages in some occasions. Thus, the
second conclusion is that the ethnicity of
someone also influences his language and
dialect.
The last conclusion is that someone
coming out of Surabaya would try to speak
with Suroboyoan language to adjust the
setting where the talk takes place or to build
solidarity (Fischer in (Cárdenas-Claros,
2009)). If people from other places of
Surabaya speak using their local languages,
for example, Madiun people will use "cahcah", "ben", etc, would sound strange for the
Surabaya people. Thus, they decided to use
Suroboyoan language to ease their
communication.
REFERENCES
Aji, K. 2013. Macam Varian Dialek-Sialek Bahasa
Jawa in
http://infobimo.blogspot.co.id/2013/11/maca
m-varian-dialek-dialek-bahasa-jawa.html
Cárdenas-Claros, M. S. (2009). Code Switching
and Code Mixing in Internet Chatting:
Between „yes‟, „ya‟, and „si‟ a Case Study.
The Jaltcalljournal, 5, 67-68.
Coulmas, F. (Ed.). (1998). The Handbook of
Sociolinguistics: Blackwell Publishing.
Fischer, R. 2009. Where is Culture in cross-cultural
reaserch? an outline of a multilevel research
process for measuring culture as a shared
meaning system. international journal of
Cross Cultural Management, 9(1), 25-49.
doi:10.117/1470595808101154
Ghalih. 2010. Upaya Mngatasi Isu Kewarganegaraan Melalui Pembauran Antar Etnis Jawa
dan Tionghoa in
http://srengengediningrat.blogspot.co.id/2010
/06/upaya-mengatasi-isukewarganegaraan.html).
http://dinkominfo.surabaya.go.id/dki.php?hal=30
http://julaeha-kartiningsih-fib14.web.unair.ac.id
Luna, D. 2008. How Switching Language Can
Change Your Personality. In
https://www.newscientist.com/article/dn1420
2-how-switching-language-can-change-yourpersonality/
Myers-Scotton, C. (1993). Duelling languages.
Grammatical structure in codeswitching.
Oxford: Clarendon Press.
Palme, F. R. (1983). Semantics (Second ed.).
London: Cambridge University Press.
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Soekemi, K. (2000). Semantics: A Work
Book (Second ed.). Surabaya: Unesa
University Press.
Stern, H. H. (1983). Fundemental Concept of
Language Teaching. Oxford: Oxford
University Press.
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SPEAKING ACTIVITIES FROM PLANNED TO UNPLANNED
Chyntia Heru Woro Prastiwi
IKIP PGRI Bojonegoro
[email protected]
Abstract
Getting students to speak in the class can sometimes be extremely easy but sometimes be reluctant. The role of teacher/lecturer in designing various speaking activities is very crucial to overcome it. The study aimed at describing and evaluating
seven speaking activities from planned to unplanned whether they are recorded or
unrecorded. The data were obtained from the observation of speaking teaching practice during three semesters. The research result indicated that each speaking activity
has strength and weakness and different ways of feedback giving as well as different
criteria to be emphasized. As one speaking activity completes to another, various
practices should be accommodate to build students’ communicative competence. The
study will be beneficial for EFL teacher/lecturer as a reference to have various speaking activities.
Keywords: speaking activities, planned, unplanned.
A. INTRODUCTION
Speaking is so much a part of daily
life that people take it for granted. It means
that speaking is the most basic means of
human communication. As an oral productive skill, speaking in a foreign language has
often been viewed difficult. Bailey (2005)
calls speaking as a challenging language
skill for some reasons. It contains reduced
forms such as constructions reduction and
elision, thus learners who do not have sufficient practice with reduced talk will retain
their speaking in formal-sound and full
forms. The other reason is the existence of
slang and idiom in speaking without which
the speaking is apt to sound bookish. The
next rationale is that speaking involves
stress, rhythm, and intonation which influence the meaning. The most arduous aspect
of speaking is interaction. It means that
English speakers are simultaneously demanded to monitor and understand other speaker.
All of those reasons are from the speaking
aspects point of view.
In the aspect of learners, there are
some easons that make learners’ inefficiency in communication and make speaking is
challenging, particularly for foreign language learners. Nervousness and being afraid
of making mistakes in pronunciation, low
levels of language proficiency, lack of vocabulary to express ideas, shyness or lack of
confidence, and lack of an environment for
practicing and using English are students’
factors that make speaking English difficult
(Dewi, 2011). In addition, Togatorop (2011)
concludes almost the same thing about students`barriers in speaking English, i.e. being
afr1aid of making mistakes, feeling lacking
of English ability, being shy to be laughed at,
feeling that it is not important to practice
speaking in English, and feeling lazy.
Talking about practicing and using
31
English, teaching spoken language needs
various interesting activities in the classroom. A classroom functions not only as a
place to learn about the rules of language,
but also as a place where students can practice using the language in conducive environment. Good classroom organization
which support speaking activities has some
features i.e. keeping everyone’s attention,
accommodating wide range of students’ abilities and learning styles, encouraging weaker students, and avoiding discipline problems (Baker and Westrup, 2003). In some
classrooms, speaking means that the students repeat sentences or recite dialogue, or
chant English words. This kind of speaking
practice will not lead to language acquisition as the target is not on communicative
competence. Much practice does not equate
to success. According to Renandya (2010),
only perfect practice makes perfect.
Speaking activities in the classroom is
a continuum from controlled to free as well
as from planned to unplanned. Broughton
(1980) makes distinction of speaking activities into controlled, guided, and free oral
work. Nunan (2003) examines three speaking lessons in language classroom, ranging
from tightly teacher-con-trolled, to teacherfronted but conversational, to highly conversational and not under a teacher’s control.
Thornbury (2005) makes distinction of
speaking events into various dimensions i.e.
transactional vs. interpersonal, interactive vs.
non-interactive, and planned vs. unplanned.
All of them are in the similar view that the
final targets of speaking features are spontaneous, communicative, unplanned, and
free from teacher’s interference. Thus,
encouraging spontaneity is one of principles
of teaching speaking, for most of speaking
activities are spontaneous.
Getting students to practice speaking
in the class, especially spontaneously, can
sometimes be extremely easy but sometimes
be very difficult for reluctant students in
particular. For students whose English is in
appropriate level, they will often participate
freely and enthusiastically if they are given
a suitable topic and task as well as a good
class atmosphere. However, for students
with low level of speaking are often reluctant to speak because they are shy and are
not predisposed to expressing themselves in
front of other people.
Since speaking is very challenging for
students in Foreign Language context, principles for teaching speaking are important to
be considered. Nunan (2003) proposes five
principles for teaching speaking. First, be
aware of the differences between second
language and foreign language learning
contexts. Second, students should be given
practice with both fluency and accuracy.
Third, provide opportunities for students to
talk by using group work or pair work, and
limiting teacher talk. Fourth, plan speaking
tasks that focus on negotiation for meaning.
Last, design classroom activities that involve guidance and practice in both transacttional and interactional speaking. Other
principle in teaching speaking is that the
activity should meaning-focused output –
using language productively (Nation, 2009),
for example, storytelling, talking in conversation, and giving speech.
Speaking activities are followed by
speaking assessment, there are some criteria
need to be hold. According to CELS (Cambridge Certificate in English Language
Speaking Skills) Test of speaking, the four
categories assessed in speaking are grammar
and vocabulary, discourse management,
pronunciation, and interactive communication. Grammar and vocabulary means that
the students are awarded marks for the accurate and appropriate use of syntactic forms
and vocabulary. The vocabulary must have
32
1-7, Nopember 2015. ISSN 2302-6278
range and appropriate use. Discourse management refers to the ability of students to
express ideas and opinions in coherent and
connected speech. How to construct sentences and produce utterances to convey information and to express or justify opinions are
assessed. Pronunciation is the production of
individual sounds, the appropriate linking of
words, the use of stress and intonation to
convey intended meaning. Interactive communication implies students’ ability to interact with the interlocutor by initiating and
responding appropriately at the required
speed and rhythm.
Interactive communication or interacttion-based activities to build communicative competence is the main feature of
Communicative Language Teaching (CLT).
In constructing communicative competence,
students should interact during English
lessons through pairwork or groupwork.
Accuracy and fluency, in this context,
should go together. However, they sometimes work against each other, particularly
for beginning, intermediate, and advanced
levels of speaking. Kayi (2006) states that
various speaking activities can contribute a
great deal to students in developing basic
interactive skills necessary for life. The activities involve role-play, simulations, information gap, brainstorming, storytelling,
interviews, story completion, reporting, playing cards, picture narrating, picture descrybing, and find the difference.
When EFL learners do speaking activities, it is greatly possible to make errors.
Bailey (2005) argues that in general, the
practice in CLT is not to interrupt a learner
to react to an error. It is important not to
treat errors in punitive fashion, or to belittle
the students when they are working hard to
communicate in a new language. Luoma
(2004) suggests peer evaluation in speaking
assessment as it can help learners become
more aware of their learning goals, learn
through evaluation, and learn from each
other. Giving feedback is the next step after
noticing learners’ errors. Useful feedback is
concrete and descriptive and it relates examinee performances to goals or descripttions of good performances (Luoma, 2004).
Realizing the importance of various
speaking activities and making video recording upon them, this article described and
evaluated seven kinds of speaking practices
from planned to unplanned. The speaking
activities mentioned in this research have
been conducted and observed during three
semesters in 2013-2015. Procedures and
materials of each speaking practice were
described, after that, evaluated each kind of
activity by mentioning its strengths and
weaknesses as well as explained about the
intention of video recording of some speaking activities.
B.
FINDINGS AND DISCUSSION
Below are the various speaking activities which are in the continuum from planned to unplanned.
1. Recorded Short Drama
The students worked in group of
four to make video recording of short drama.
They had free topic and two weeks to finish
the task as they needed long time to make
consolidation in group. The story of drama
may be adopted, adapted, or developed. After that, the lecturer played the drama in
front of the class, gave comment, and suggestion.
2. Recorded Storytelling
The students were demanded to
make monologue video in free story topic.
They could use media such as doll, puppet,
picture, paper, or their face. In this case, if
the students utilized doll, puppet, picture,
and paper in storytelling, the audiences only
know the sound, intonation, and flow of
33
story. However, when they choose using
their face in storytelling, the audience will
watch their facial expression. Since it was
individual work, they were given one week
to finish the task. The results of recorded
storytelling were shown in front of the class.
3. Visual aid-based Presentation
There were seven kinds of visual aids
used by the students i.e. pie chart, bar chart,
line graph, flow chart, organizational chart,
table, and photo. They had to make power
point of visual aid they got, then, present it
orally. Of course, the lecturer firstly provided the example of presentation text and
explained how to present each visual aid.
The slides of power point only contain the
picture, not full text of presentation.
4. English Contest in Class
The first step was preparing the materials
for English Contest. Then, divide the
students into six groups and choosing three
students as the reader, jury, and moderator.
The reader was assigned to read the questions and stated whether the answer is true
or false. The jury functioned to count the
scores and duration for answering the
questions. Meanwhile, the moderator was
responsible for managing the reader, jury,
and participants, including reading the
instruction and bridging from one round to
the next ones. There were three rounds in
this technique. In the first round, each group
should answer 10 mastermind questions
which need short answer, such as “What is
Indonesian symbol of country?”, Where is
Candi Borobudur located?”, Who is the first
president of Indonesia, and so forth. Two
groups with the lowest score were eliminated. The second round is called guessing
game. Each group had to guess three words
based on the clues given. The examples of
some clues are shown in Table 1.
Table 1. Word Clues in Guessing Game
Clues of word
1. It is related to animal. It is high, humped, and has a long neck. Mostly, we know this
animal as a ship of desert. The colour is brown. It can survive in the limited water and
hot weather. What is it?
Answer: camel
2. It is about job. She/he wears a white coat and uses stethoscope. She/he examines
children suffer from illness. Who is she/he?
Answer: Pediatrician
At the last round, there were two
groups left and they had describing game.
Both groups competed to be the winner of
English Contest. Each group had to choose
one of their members as the captain who
Tourism
Object
was assigned to give direction/description of
five words written on the selected two cards.
The examples of cards for describing game
can be seen in Table 2.
Table 2. Cards in Describing Game
Food
Stationery
34
Electronic
1-7, Nopember 2015. ISSN 2302-6278
1.
2.
3.
4.
5.
Fountain
Waterfall
Park
Lake
Beach
1.
2.
3.
4.
5.
Omelet
Bread
Curry
Meatball
Noodle
1.
2.
3.
4.
5.
5. Mini Research
The first step done by the lecturer to
have Mini Research for speaking activity is
preparing the questions for survey/questionnaire. The total number of questions
should be accordance to the number of students in one group. If there are ten students
in one group, there must be ten questions.
No
Glue
Scissors
Paper clip
Folder
Ruler
1.
2.
3.
4.
5.
Refrigerator
Microwave
Water heater
Notebook
Fan
The students then were divided into two
groups. Each student had to make mini
research/survey by asking one out of ten
questions based on his/her turn. The questions were about “Music and You” and can
be seen in Table 3.
Table 3. Questions of Survey
Questions
1
What is your favorite sort of music?
2
Do the people you live with and your close friends share the same tastes in
music as you?
Where do you listen to music most-at home, in the car, or somewhere else?
3
4
5
6
7
8.
9.
10.
If you could choose one musical instrument to be able to play, what instrument
would you choose?
Do you like having background music while you are working/studying?
If you like certain song, do you buy its CD, borrow from friend, or download
it?
Have you ever been to music concert?
Have you got one or two favorite performers (solo singer/band group) at the
moment?
Do you ever sing in the bath or while you are working/studying?
Would you like a child of yours to be a professional musician?
After the students got the answers,
they had to make report in front of the class
based on the guided sentences which are
provided in Table 4.
Table 4. Guided Sentence for Oral Report
35
No
Guided Sentence
1.
My favorite sort of music is …..
2.
I choose it because…..
3.
I got question number….. The most interesting thing from the result of miniresearch is …..
My expectation on Indonesian music is …..
4.
6. Recorded Modified Role-Play
It is called modified role-play because it was slightly different from the usual.
The scenario for Roleplay commonly is
provided by the teacher. In this research, the
scenario was made by the students in pairs.
Then, the scenarios were exchanged each
other group. Each group got the scenario
when they were asked to come in front of
the class. After reading and understanding it,
each group had to act it immediately. The
performance of each group must be recorded because at the end of session, the
lecturer played all groups’ performances in
order to give feedback. The examples of
role-play scenario made by the students can
be seen on Table 5.
Table 5. Students’ Scenario of Role-Play
Scenario of Role-Play
1. Rani and Dinda are sitting in the canteen. They are talking about their boyfriend. After
knowing and telling each other, surprisingly the boy they mean is the same person.
What kind of conversation will happen?
Written by: Rena and Putri
2. Today is Eva’s birthday. Aji wants to give a surprise. He goes to Eva by acting like a
ghost. Eva is so scared. Aji goes away, then goes back to Eva. He asks Eva how many
ghost she sees. Eva answers that there are two ghosts. Aji gets confused and scared
more than Eva. What conversation will be?
Written by: Eva and Aji
7. Small Debate
The small debate was about general
election to vote the Head of Bojonegoro
Regency. The debate was open for session
of question and answer. The researcher elected four students who have good ability to
speak as the candidates of regent and one
student as the moderator, while the rest students became the audiences as well as the
voters. The moderator was responsible for
managing the debate including counting and
announcing the gained votes of each candidate of regent. In this case, the lecturer
divided the debate into three stages and provided some questions for each stage. At the
first round, the four candidates were asked
to explain each vision and mission if they
are chosen as the Head of Bojonegoro Regency. Then, the audiences were demanded
36
1-7, Nopember 2015. ISSN 2302-6278
to give their votes on a piece of paper. The
candidate who got the fewest vote was eliminated. At second round, the three candidates were instructed to give each opinion
on three main problems of Bojonegoro i.e.
flood, illegal logging, and oil foreign company inflow. After listening to them, the audiences gave their votes. One candidate was
eliminated at this stage. At the last round,
the two candidates had to give their plans on
two issues i.e. inclusive education and economic improvement. The candidate who got
the most votes at the last round was declared
as the next Head of Bojonegoro Regency.
create different ways to use them. Besides,
in the course of looking for the story,
reading, rewriting, and completing the story,
can be further developed. This study proved
that there were many ways and materials
could be used in storytelling. Some students
might use paper of somebody/something
profile, doll, puppet, even their own facial
expression. They might adopt, adapt, and
develop the stories. Each students employed
different sound, stress, and intonation in
presenting the characters in the story.
Although storytelling is categorized as
planned speaking and does not motivate
students to speak spontaneously, in short, it
can arouse students’ creativities in terms of
the material used, the story chosen, as well
as the way they speak in presenting the story.
A visual aid is a very useful basis for
speaking activity including in presentation.
Power point showing the slide of organizational chart, bar chart, pie chart, line graph,
flow chart, table, or picture, can provide a
context as well as language input for speaking. A slide show can help students to
memorize the main point of speaking materials and to gain a good understanding of
new vocabulary and grammar. However, in
some learning situations, students focus
only on translating and memorizing the content and the language. On the one hand,
visual aid-based speaking can be a useful
exercise particularly for the lower level, on
the other hand it does not help students to
speak fluently.
Speaking activities which can be positioned in the middle between planned and
unplanned speaking are English Contest in
Class and Mini Research. Both accommodate preparation as well as unpredictability. That is why this technique is
suitable for intermediate levels. Preparation
means that the students have to do certain
activities asked by the teacher/lecturer as the
1. Planned to Unplanned Speaking
Recorded short drama, recorded storytelling, and visual aid-based presentation are
included as planned speaking as learners
have time to prepare and rehearse. So, they
can be called prepared talks. In recorded
short drama, learners act from the script.
Through the script, they are helped in
drawing attention to accuracy, appropriate
stress, intonation, pronunciation, and speed.
In this case, accuracy can go first than
fluency as there is time to rehearse, edit, and
revise the speaking. In drama, learners
practice gestures, facial expression, eye
contact and movement, proxemics, and
prosody. It can arouse learners’ confidence
and develop their empathy to other characters. Drama can engage emotional and
intellectual characteristics.
Having storytelling as speaking activity is good for students as it plays significant roles i.e. stimulate imagination and
develop language ability as story relies so
much on words. Using storytelling in EFL
speaking classroom
is motivating and immensely interesting as it can attract listeners and promote
communication. Jianing (2007) concludes
that stories in oral English encourage the
students to find more interesting stories and
37
basis material for their speaking. Meanwhile,
unpredictability refers to certain activity that
must be done spontaneously. English Contest in Class is an effective way to encourage the students to speak up in a fun way.
Since they were challenged to win the
contest, they have competetive atmosphere.
In this case, they build their bravery to use
English orally. Moreover, it can increase
self-esteem of the students including introvert or restless students (Saniati, 2010).
Becoming facilitator, the teacher/lecturer
should prepare some materials before applying the technique of English Contest in
Class.
Similar to English Contest in Class,
Mini Research as speaking activity also
needs teacher/lecturer as a resource by
helping the students in the design process.
The results obtained from the survey/
questionnaire can then form the basis for the
spontaneous oral work. Both questioner and
respondent are ensured that they have
something to say to each other which encourage the natural use of certain language–and
thus can be situated in the middle of our
communication continuum (Harmer, 2007).
Small debate and modified roleplay
were categorized as unplanned speaking
activities. Small debate on Regency Head
election is advanced level of speaking.
Although in this activity, advanced students
were chosen, while the low and intermediate
ones just acted as the voters, it still has the
strength. It sounds so discriminative but the
advanced learners can be as a good model of
speaking for their friends. This kind of small
debate engaged all students in one attention
as all audiences should give their votes
based on the candidate’s oration. Moreover,
the candidate should attract the audiences’
attention by giving good and attractive
opinion and explanation. Since this debate
was open for question and answer session, it
fostered spontaneous speaking.
Like small debate, modified roleplay
includes the element of uncertainty and
unpredictability which is present in genuine
conversation and discussion. Each group of
students got the scenario when they were
asked to come in front of the class. After
they read and under-stood the other group’s
scenario, decided who acted as what, then
they acted out it. All happened spontaneously and might contain unpredictable
possibility. One student had to respond soon
the other without any preparation.
Both small debate and modified roleplay can be used to encourage general oral
fluency. Particularly for roleplay, it trains
students for specific situation of real life.
Both activities allow learners to be as
creative as possible. However, if learners
have almost no background information,
they may find it difficult to do. Thus, it is
strongly recommended that the scenario of
roleplay should from students’ mind. That is
why it is called modified roleplay as the
scenarios were made by students and not
provided by the teacher/lecturer.
2. Making Video Recordings
Some speaking activities were intentionally video recorded for several advantages.
Video is a much more accurate and complete record of a lesson than a written or
audio recording (Richards and Farrell, 2005).
For students, the data of video recording can
be easily transferred to a laptop so that they
can easily watch as many times as they want.
It can promote self-reflection on learning
and awareness for students upon their performances. Meanwhile, for teacher/lecturer,
recording speaking activeties can capture
many details of students’ performances,
show the errors, and promote teaching
reflection.
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1-7, Nopember 2015. ISSN 2302-6278
In teaching speaking, using video
recording is very helpful in giving feedback–both assessment and correction on oral
work. During communicative activities, the
teacher/lecturer is strongly suggested not to
give feedback by interrupting students’
communication as it can raise stress levels
and stop the speaking acquisition process.
The other problem of giving feedback after
the speaking is that it is easy to forget what
students have said (Harmer, 2007). Considering both problems of giving feedback on
oral works, using video recording can be
kind of solution. Since video can be played
forward and backward, it is easy for teacher/
lecturer to show incorrectness and provide
the correct version. Teacher/lecturer can
also use video recording to ask the students
to make peer assessment and hope that they
will be able to correct themselves.
This study presented three kinds of
recorded speaking activities. They are recorded short drama, storytelling, and modified
roleplay. The two first activeties were
chosen as the representative of planned
speaking while the last one was as the
representative of unplanned activities.
Recorded short drama and storytelling are
sorts of accuracy activities while recorded
modified roleplay is that of fluency
activities. Appropriate feedbacks for
accuracy work are showing incorrectness
and getting it right whereas those of fluency
work are giving gentle correction, recording
mistakes, and after the event, responding to
the content as well as the language form
(Harmer, 2007). Chi (2011) suggested that
for lessable students, more attention should
be paid to correct repetition than to
performance skills. Meanwhile, for moreable students, the proportion of repetition
and performance skills should be considered
carefully as this influences their motivation
in learning speaking. Thus, video recording
eases the way the teacher/lecturer gives
feedbacks including repetition and performance skill. Making video recording on
speaking activities means using camera or
mobile phone as a learning aid. Although it
takes time, students can work cooperatively
about acting, directing, and editing. The
results can be satisfying and the activity can
be highly motivating. Watching the video
together in classroom while getting the
feedback from friend/teacher/lecturer, especially peer video, can arouse learners’ curiosity, attract their excitement, and provide
example of good model in speaking.
C. CONCLUSION
Varying speaking activities is crucial
to encouraging reticent students to speak
and helping the dominating students to
participate appropriately. Multilevel classes
with students at various levels of speaking
can be engaged by providing opportunities
for balanced interaction. Planned speaking
activities are conducive for reluctant students but not for advanced ones and vice
versa. Speaking activities from planned to
unplanned have strengths and weaknesses
but all must be accommodated as one speaking activity completes to another. Using
video recording upon some speaking activities is helpful in giving feedback for
students. It can be concluded that teacher/
lecturer should provide various speaking
activities from planned to unplanned practices whether they are recorded or unrecorded.
39
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ESL/EFL Listening and Speaking.
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Renandya, W. 2010, September. Does Practice Make Perfect? Featured speaker
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TESOL, Ho Chi Minh City, Vietnam.
Richards, J. C. & Farrell, T. S. 2005. Professional Development for Language
Teachers: Strategies for Teacher
Learning. Cambridge: Cambridge
University Press.
Saniati, Ima. 2010. Improving Listening and
Speaking Skills through English
Contest in Class. In Cahyono, B. Y.
(ed.). The Teaching of English
Language Skills and English
Language Components. Malang:
State University of Malang Press.
Thornburry, Scott. 2005. How to Teach
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Togatorop, Erikson. 2011. Students’ Barriers
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Cahyono, B.Y. (eds.), Best Practices
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REFERENCES
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York: McGraw-Hill.
Baker, Joanna & Westrup, Heater. 2003.
Essential Speaking Skill. London:
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Broughton, Geoffrey., Brumfit, Christopher.,
Flavell, Roger., Hill, Peter., & Pincas,
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Brown, H. D. 2001. Teaching by Principles:
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(http://www.camtesol.org/Download/
LEiA_Vol2_Iss2_2011/LEiA_V2_I2
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), accessed on December 5, 2015).
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Jianing, Xu. 2007. Storytelling in the EFL
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December 3, 2015.
Kayi, Hayriye. 2006. Teaching Speaking:
Activities to Promote Speaking in a
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THE HOBBIT: A LIFE-CHANGING JOURNEY OF BILBO BAGGINS
Ratih Kuswidyasari
Lembaga Bahasa & Pendidikan Profesional LIA Surabaya
Email: [email protected]
Abstract
This article discusses the journey and transformation of Bilbo Baggins as the
main character, as well as archetypal symbols, in The Hobbit by J. R. R. Tolkien. Even
though at the beginning he is considered as an anti-hero since he is the opposite of
typical classic heroes, Bilbo experiences character development during his journey
which transforms him into a hero of his own class. Jung‟s theory of archetype is
applied in analyzing Bilbo‟s psychological stages and symbols depicted in the story,
while Ramsdell and Chapman interpretation of Campbell‟s monomyth theory is used
to uncover the life-changing journey undergone by Bilbo.
Keywords: Hero, Life-Changing Journey, Character Development, Archetype
A. INTRODUCTION
Story has always been fascinating to
many people regardless neither their age nor
their genre preference. Some people prefer
dark, thrilling sensation of Gothic stories
while others choose beautiful love stories in
romance. The Hobbit, a children‟s book and
fantasy novel by J. R. R. Tolkien, is one of the
classic novels captivating the readers of all
ages since it was first published in 1937. The
novel tells a story about a home-loving Hobbit
in a quest to win a share of the treasure guarded by the dragon Smaug. Not only that the
novel has a strong and interesting story, it also
presents a series of characters and symbols
challenging to analyze.
Wiklander , (2011: 3) explains that The
Hobbit—prequel to trilogy The Lord of the
Rings that can be read as an independent
story—carries many different themes and
more than just a children‟s story. The theme
good‟s fight against evil is especially strong in
Tolkien‟s description of the Battle of Five
Armies, which depicts how harsh and full of
suffering a war is even though it is done for a
right reason. Wiklander also states that The
Hobbit tells the tale of ethics and personal
development besides the tale of war (2011: 3).
We can witness it through the various characters in The Hobbit, most of whom are taken
from fairy tales and represent qualities in us.
We can see ourselves reflected through the
traits of the characters that shape the story as
ours shape our lives. Good, evil, proud, humble, brave and coward are only some of the
many qualities displayed in the story. They are
described ingeniously through the depiction of
the characters‟ physical appearances, manners
and action.
The most interesting character in the
novel is certainly Bilbo Baggins himself,
whom Gonçalves dubs as an anti-hero since
Bilbo, in the beginning of the story, does not
have the quality of a classic hero such as
Homer‟s Ulysses or Achilles, (44). First, his
physical appearance is far from what we
imagine a hero‟s will be. Tolkien describes
Hobbits as little people who are half our
height and smaller than the bearded Dwarves.
They do not have any magic except the ability
to hide quickly when something scares them.
41
Ratih Kuswidyasari
Additionally, Gonçalves explains that unlike
the classic hero, Bilbo shows reluctance when
he is asked to join the others on a quest
because he considers it dangerous (44). He
often displays his longing for his home and is
not strong or courageous, nor does he have the
quality of a leader. At the biggest confrontation in the story—the Battle of Five Armies—
he even gets knocked unconscious and cannot
fight in the battle that decides the victory of
good over evil (44-45). Nevertheless, during
his quest, which changes his life forever, he
gains an internal alteration which makes him
grow more mature and heroic.
This article discusses Bilbo Baggins‟
journey throughout the story as well as
character development and symbols depicted
in the novel. The journey is explained using
Joseph Campbell‟s theory of monomyth and
by using the archetype theory developed by
Carl Jung, a European scholar with a vast
knowledge in the symbolism of complex mystical traditions.
person. Furthermore, Jung explains that
„themes of archetypal images are the same for
all cultures, are common to all people of different ages, races, and cultures and correspond
to the phylogenetically conditioned part of the
human structure‟ (Adamski, 2011: 563).
Sharp (2001: 14) acknowledges that
motifs, as well as images and patterns, are the
materializations of the archetypes well recorded in art, literature, history, and mythology.
He gives several examples for the archetypes,
such as Odysseus, Joan of Arc and Pinocchio
as the archetypal images of the hero archetype
and left and political parties as the archetypal
motif of the “two brothers”, which represents
the antagonism of Cain and Abel.
The collective unconscious is the reason
we can perceive similar patterns in folklores
all over the world where the main characters,
including our Bilbo Baggins although considered as an anti-hero, in those stories experienced a life-changing journey full of trials
and tribulations in order to get „the prized
treasure‟.
B. DISCUSSION AND FINDINGS
2. The Journey of a Hero
Joseph Campbell, (2004: 28) widely
known for his monomyth theory, explains that
there is a “standard path” which is also considered as “the rites of passage” when heroes
set on their mythological adventure: departure—initiation—return. In those rites there
are some steps experienced by the hero where
he/she will meet his/her helper, face his/her
tests or trouble, then win the day. In departure
stage which Campbell also calls separation,
there are five subsections: the call to adventure, refusal of the call, supernatural aid, the
crossing of the first threshold, and the belly of
the whale (34).
The second stage initiation is defined as
the stage of the trials and victories of initiation
which has six subsections: the road of trials,
the meeting with the goddess (Magna Mater),
woman as the temptress, atonement with the
1. Jung’s Archetype
Adamski (2011: 564) explains that from
a thorough research about human personality,
Jung found that human personality is divided
into three psychic levels: conscious, personal
unconscious, and collective unconscious.
Collective unconscious consists of „the instincts (biologically conditioned response
patterns) and the archetypes (symbols, signs,
patterns of behavior, thinking and experiencing), physically inherited from our ancestors‟.
Archetypes, according to Jung (1969),
are the contents of the collective unconscious
which are archaic or primordial, “with universal images that have existed since the remotest
time”. This unconscious is different from
personal unconscious which comes from
personal experience and is not acquired by the
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1-7, Nopember 2015. ISSN 2302-6278
father, apotheosis, and the ultimate boon. The
final stage of the heroes‟ journey or return
also has six subsections: refusal of the return,
the magic flight, rescue from without, the
crossing of the return threshold, master of the
two worlds, and freedom to live (34-35).
This article, however, apply Ramsdell
and Chapman interpretation of Campbell‟s
steps which is excerpted as follows:
1. The Ordinary World: the hero is clueless
about his/her personal potential or
calling. He/she thinks that he is just an
ordinary person without realizing that
he/she is destined to do great things.
2. Meeting Wise Mentor : a time when
someone whose duty is to guide and help
the hero who has committed to the quest,
consciously or unconsciously, appears or
becomes known
3. Call to Adventure: a point where the hero
is given notice for the first time that
everything is going to change whether
he/she knows it or not.
4. Refusal of Call or Reluctant Hero: the
hero refuses to answer the call to adventure because of many reasons, i.e. a sense
of duty or obligation, fear, insecurity, or a
sense of inadequacy.
5. The First Threshold: this point is where
the hero traverse into the world of adventure, leaving his/her familiar, safe world
into an unknown and hazardous territory
where everything is uncertain.
6. Tests, Allies and Enemies: in this part the
hero undergo a series of tests, tasks, or
ordeals to begin the transformation. He/
she often fails one or more of these tests,
which often occur in 3s.
7. Supreme Ordeal: this point is sometimes
described as the hero‟s darkest moment.
He/she separates his/her old world and
old self with the potential for a new
world or self. By entering this stage, the
person shows his willingness to make a
8.
9.
10.
11.
12.
change, to “die” and become a new
person.
Revisiting the Mentor: the hero revisits
the lessons of an old mentor or meets and
learns from a new mentor and afterward
returns to the path he/she started on.
Return with New Knowledge: this is
where the hero comes back to his/her life
and integrates the wisdom he/she gain
from his/her quest to everyday life. He/
she often gets guides and rescuers to
assist him/her to his/her life.
Seizing the Sword (or Prize): at this point
the hero faces old enemies with the new
power and knowledge achieved and is
able to conquer them.
Resurrection: the hero‟s old self dies
physically or spiritually and transforms
past the normal human state where the
hero acknowledges his new standing.
This can be considered as a period of
rest, peace, and fulfillment before the
hero begins the return.
Return with Elixir: at this part the hero
achieves the goal of his/her quest, getting
the prized treasure which will help to
make his/her life better.
3. The Beginning
This is the first rite of passage, the
separation, which Bilbo must get through in
his journey. There are several steps that
belong to this rite before Bilbo actually enters
his adventure and faces life-threatening
danger. First is the ordinary world. Bilbo
Baggins is a hobbit, a race of gentle and
pacifist mythical creatures that enjoy their
good life in their peaceful Shire. They live in
burrows which offer them comfort and
warmth, and have more than three mealtimes a
day. By nature, they are not fond of adventure
since they consider it hazardous to their
health. Even though there are some of the
relatives from his mother‟s side have the
tendency to go against that nature, Bilbo
43
Ratih Kuswidyasari
himself is pretty much a true hobbit to the
core, who does not belong to a classic type of
a hero since he does not have the quality of a
leader. That is why we can classify Bilbo as an
anti-hero for his lack of bravery and leadership.
The second step is meeting wise mentor
where Bilbo meets Gandalf for the first. At
first he is quite annoyed by Gandalf since he
does not know who he is, and unfamiliarity is
not something that sits well with a hobbit.
Albeit he finally recognizes Gandalf as a
wizard who created amazing firework, he still
sees Gandalf as a slight disturbance to his
morning routine, enjoying a leisure time by
smoking his pipe. Morning in archetype is a
symbol of birth or beginning. His first meeting
with Gandalf in the morning can be considered as the beginning of a new chapter in
Bilbo‟s although he does not aware of it yet.
Gandalf as Bilbo‟s mentor first action is
preparing Bilbo for the arrival of Thorin
Oakenshield, a forgotten dwarf prince, and
other dwarves who want to reclaim the dwarf
kingdom‟s treasure stolen by Smaug the evil
dragon that also destroyed their homeland
during its attack. Gandalf is a qualified mentor
for Bilbo as he is a powerful wizard, although
in the beginning Bilbo cannot see it. He is
wise and able to provide magical assistances
whenever Bilbo and his other companions are
in deep trouble. He does not assist Bilbo all
the time, however, because he believes that
Bilbo has the potential to overcome his
problems. Thus, he gives Bilbo a chance to
develop himself and become mature during
his journey.
After passing through the previous two
steps, Bilbo enters the third step, call to
adventure. An overwrought Bilbo unwillingly
received a bunch of dwarves who make
themselves at home and he really does not
know why they come to his burrow. It is
Gandalf who explains what his part among
those dwarves whose mission is to reclaim the
stolen treasure from the wicked Smaug. Bilbo
is given a task as a burglar whose job is to find
and open the door of what used to be the
dwarf kingdom in the Lonely Mountain. A
task in archetype is something that must be
done in order to save the day, in this case to
restore the glory of the dwarves before it is
destroyed by the dragon. Gandalf says that the
burglar is someone who possesses stealth and
courage to do the job. It is Bilbo‟s call to join
forces with the dwarves and become the
burglar in a quest full of threat to win what
rightfully belongs to those dwarves.
Certainly as a very domestic creature,
Bilbo adamantly resists that very dangerous
call. This is the point where he enters the
phase refusal to call. He does not want to
exchange the safety and comfort of his lifestyle with an unknown quest which in his eyes
only promises perils and troubles. He does not
see himself as a burglar or someone who is fit
into the adventure. Even the dwarves agree
with him that Bilbo is not a qualified person
since he is gentle and cannot defend himself
from the danger. However, Gandalf insists
that Bilbo is most suitable for the task. He has
light feet which enable him to move undetected and his smell is undetectable by the
dragon unlike the dwarves‟. Furthermore, he
also has other qualities supporting his role
which, as Gandalf says, even he himself does
not know. As a mentor, Gandalf is able to
recognize a hero in Bilbo although he is not
aware of the fact.
The last step in separation is the first
threshold. Bilbo finally accepts his task which
results he must leave everything behind to
have his adventure. There are two thresholds
in this stage. First, Bilbo must leave his
burrow or we can see it as a cavern which
symbolizes a maternal womb. The womb is
where a baby is protected from any danger
including cold and hunger. By leaving his
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1-7, Nopember 2015. ISSN 2302-6278
burrow, Bilbo also leaves the safety of a place
which provides him comfort and warmth
where he never feels cold or hungry. Then,
Bilbo needs to leave his Shire or a town which
symbolizes a place where everything is certain
and in order into unknown realm where everything is unfamiliar for the Halfling who enjoy
routine and leisure life. It can be overwhelmming but Bilbo cross those thresholds anyway
which shows the first sign of his internal
changing.
This is another proof that Bilbo indeed
possesses the traits of a hero, vigilant of
lurking danger. Inside the caves Bilbo also
meets another enemy, a creature that called
himself Gollum. Gollum is actually a hobbit
who was seduced by the false power of the
cursed ring which made him capable of killing
his partner in order to seize it. We can consider him as a traitor who was willing to
exchange his inno-cence for power. He is
manipulative and tries to trap Bilbo to eat him
by giving him riddles which Bilbo can solve,
as a proof of his wit. A traitor as he is, Gollum
does not wish to let Bilbo easily even though
Bilbo wins. He chases and tries to capture
Bilbo who succeeds in escaping and finally
meets his companions.
When Bilbo and his companions enter a
forest, the representation of a dangerous world
full of beast and darkness, they are attacked by
a horde of goblins and Wargs (the evil wolves
over the Edge of the Wild). Luckily, beside
encountering predators that wish to destroy
them, Bilbo and his companions meet allies as
well. The moment they are cornered and cannot escape their enemies, the Lord of the
Eagles decides to help them because he hates
the goblins and the Wargs with a passion. He
leads a race of birds that are „proud and strong
and noble-hearted‟ and always tries to stop the
goblins and the Wargs from making destructtions. His intervention helps the group a great
deal since even Gandalf cannot do much to
bail them out from that dire situation. Another
ally that the group meets is Beorn, what
Gandalf called as a skin-changer who can shift
into several kinds of animals. In archetype, he
is considered as the shaman, a character who
lives alone or with symbolic animals. His
nature is good or neutral and plays a vital part
of the hero quest, but is uninvolved with the
outcome of events. Beorn lives in an oakwood with animals as the servants in his
house. He gives the weary adventurers food
4. The Adventure
At this rite, initiation, Bilbo undergoes
many hardships and challenges along his
quest. There are several steps to describe what
Bilbo must get through, one of which is tests,
allies, and enemies. During the tests, Bilbo
encounters allies who give him guidance and
assistance and enemies who seek to destroy
him. Those tests also reveal the qualities
which make him a hero as he is. Bilbo‟s first
test is to scout for the group to ensure the
security. The trolls, the representation of the
predators in archetype that often come in our
nightmares and awaken our fear, manage to
capture them and try to eat them but Gandalf
finally save them. In this test Bilbo proves that
he is courageous by not leaving his companions in time of trouble. He discovers a key to
open the trolls‟ cave where the group finds
some food, treasure, and weapons that the
trolls robbed. The key symbolizes the authority to let in and shut out and to hold a key
means to have been initiated. This is the time
when Bilbo initiates his transformation from
his naïve self into a capable burglar, thus
proves himself before his companions.
The next test occurs when the group
unknowingly enters goblin caves and they are
ambushed by the goblins, their next enemies
and representation of the predators. Fortunately, because of Bilbo‟s alertness Gandalf is
able to escape and later on saves them all.
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Ratih Kuswidyasari
and shelter so that they can recover themselves.
Entering Mirkwood, Bilbo faces other
tests. First, he must save his companions from
a swarm of giant man-eating spiders with
every skill he has. He also shows the traits of a
leader while doing the rescue such as courageous, self-sacrificed, and witty. He skillfully
uses his elfin-blade and the ring to fight the
spiders and create a brilliant tactic so that his
companions can make their escape. The same
traits are used when he saves his captured
companions from Wood-elves which make
Thorin change his opinion of Bilbo. He
always has a doubt about Bilbo‟ qualities as a
burglar, but those rescues prove that he is
worthy. The final test which Bilbo faces is
when he must enter Smaug‟s lair to steal the
dwarves‟ treasure. Using every skill that he
gains from the previous tests, he is able to
accomplish his task. Smaug‟s lair, formerly
the dwarves‟ kingdom is within the Lonely
Mountain in the east. A mountain represents a
place where earth and heaven meet. It also
symbolizes safety, stability, and often human
pride. The kingdom in the Lonely Mountain
was the pride and joy of the dwarves before
Smaug destroyed it. By trying to reclaim their
treasure, the dwarves attempt to regain their
glory which was built by the fathers before
them. The east represents the land of birth or
rebirth and of the Sun and Venus. It is
associated with renewal, youth, feasting, song,
and love. It is the place where Bilbo reborn
completely into a hero whom even the Woodelves king admires.
Another step in initiation is supreme
ordeal. Bilbo and his companions face several
“deaths” during their quest. First is when they
are rescued from the trolls by Gandalf, then
when they can escape the goblins of the Misty
Mountains, the Wood-elves, and Smaug. Each
of the “death” changes Bilbo from his old self
and brings his hidden qualities which support
his important role in the quest. In the end,
Bilbo becomes the person Gandalf believes
him to be, a hero.
Revisiting the mentor happens several
times along the story. Gandalf as Bilbo‟s
mentor does not always travel with the group.
Sometimes he leaves them in order to take
care of other matter which quite deflates the
group actually. However, in their darkest
moments when they seem to not be able to
avoid their unfortunate faith, Gandalf always
comes to save the day. Each time Gandalf
takes his leaves, Bilbo always pays attention
to what Gandalf tells him. Just like when
Gandalf tells them that Beorn watches over
them their way to Mirkwood, Bilbo is the only
one who notices there is a big bear, Beorn in
guise, following them. Then another time
when the group enters Mirkwood, Gandalf
warn them not to stray from the path which
they ignore. Bilbo is the only one who remembers his warning. He does his best to live to
Gandalf‟s expectation and pay attention to his
sayings as a good initiate should.
The next step is return with new knowledge. Each time Bilbo faces a test, he gains a
new knowledge from it. He learns a lot of
things during the journey with his companions, such as how to survive and to fight.
Bilbo uses the knowledge to accomplish
whatever task given to him. Although he gets
guides and assistance during the tests he is
quite successful which gradually impresses his
companions and earns their respect.
Bilbo reaches the step seizing the sword
(or prize) several times during his quest. He
gets his elfin-blade „Sting‟ inside the troll‟s
cave and the cursed ring when he faces
Gollum in the goblin‟s cave. Gradually he
becomes skillful in using those magical items
in accomplishing his tasks. In the Battle of
Five Armies, a great war between the goblins
and Wargs against the dwarves, elves, and
men, Bilbo uses the ring and the blade to fight
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1-7, Nopember 2015. ISSN 2302-6278
the enemies although he does not hold an
important part during the war. Even though he
is afraid and thinks of escaping, he stands his
ground and fights. He also settles the dispute
between Thorin and the Lake-town people by
giving the Arkestone of Thrain to Bard their
leader as the means of negotiation. Bilbo gets
the most prized treasure among the sea of
treasure in Smaug‟s lair. Thorin considers the
stone worth more than a river of gold as it was
his father‟s, thus it represents his pride which
he holds above all.
The last step in initiation is resurrecttion. After the Battle of Five Armies finished,
Bilbo lose his companion Thorin but they
manage to rekindle before Thorin passes
away. After having been battered and bruised
all along the quest, Bilbo comes to a point of a
final transition. Bilbo transforms into and is
recognized as the hero whom everyone respects. Bilbo returns home accompanied by
Gandalf. They spend sometime in the Last (or
First) Homely Home in the valley of Rivendell
to get some rest and recover before he goes
home to his Shire. They come to that place on
May the first, which is in the spring in Europe.
Spring in archetype represents birth or new
beginning. Bilbo, indeed, begins his new life
as a seasoned adventurer even though will
return to his house.
that he minds it. In his opinion, the adventure
turns him into a better person and makes him
live his life to the fullest.
C. CONCLUSION
Bilbo Baggins‟s is a life-changing
journey which transforms him from an antihero into a real hero. During his quest in
helping the dwarves reclaiming their treasure
from the evil dragon Smaug, Bilbo
experiences some tests, faces many dangers,
gain allies and magical items, fights enemies,
and suffers from loss; however, he holds his
ground and rises as a hero. Bilbo is not a
classical hero who everyone recognizes and
follows directly as their leader, but he evolves.
The changes gradually take place along his
journey. He is just like the most of us who do
not understand that there is a hero within us,
waiting to be recognized and to arise. Our life
is a mental and spiritual journey which provides us trials and tribulations as in Bilbo‟s. If
we can follow Bilbo‟s path in following his
destiny, then our internal hero will surely
assist us along our journey.
5. The New Beginning
The last rite of passage that Bilbo experiences is return. There is only one step here,
returns with elixir. Bilbo takes home the ring
that he gets from Gollum and uses it when he
wants to escape unwanted guests. He also gets
his share of the dwarves‟ treasure and the
trolls‟ treasure which he mostly uses to buy
presents for his nieces and nephews. But the
most important thing for him is his internal
transformation from a timid and peaceful
hobbit into brave and adventurous one which
makes him become a sort of cast out because
he is different from the rest of his people, not
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Ratih Kuswidyasari
REFERENCES
Adamski, Adam. „Archetypes and the Collective Unconscious of Carl G. Jung in the
Light of Quantum Psychology‟ in
Neuro Quantology | September 2011 |
Vol 9 | Issue 3 | Page 563‐571.
Campbell, Joseph. (2004). The Hero with a
Thousand Faces. New Jersey: Princeton
University Press
Gonçalves, Diogo. Bilbo Baggins: An (Un)
expected Hero. Retrieved from www.
ler.letras.up.pt/uploads/ficheiros/4293.p
df
Jung, Carl G. (1969). The Archetypes and the
Collective
Unconscious.
London:
Routledge.
Ramsdell, Gail and Chapman, Sarah. The
Hero‟s Journey, Universal Archetypes:
From Ancient to Modern Stories.
Retrieved from www.slideshare.net/
mobile/ncmsa/the-heros-journeyuniversal-archetypes-from-ancient-tomodern-stories
Sharp, Daryl. (2001). Digesting Jung: Food
for the Journey. Toronto: Inner City
Books.
Tolkien, J. R. R. 1937. The Hobbit, or There
and Back Again. United Kingdom:
George Allen & Unwin.
Wiklander, Cecilia. The Image of Heroism in
Tolkien’s The Hobbit. Retrieved
fromhttps://gupea.ub.gu.se/bitstream/20
77/25882/1/gupea_2077_25882_1.pdf
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ANALISIS SASTRA FANTASI DALAM DRACULA KARYA BRAM STOKER
Masriatin
STIBA SATYA WIDYA
Abstrak
Makalah ini menyajikan analisis novel karya Bram Stoker yang berjudul Dracula
dengan mengaplikasikan teori sastra fantasi. Berdasarkan analisis ditemukan setidaknya tiga
tema didalam novel Dracula yakni vampir, pemburu menghancurkan kekuatan jahat, dan
persahabatan sejati. Dari tema–tema tersebut ditemukan motif–motif yaitu jiwa yang tersiksa,
intervensi mimpi dan realita, dan binatang jadi–jadian. Berdasarkan temuan dapat disimpulkan bahwa persiapan, strategi, dan pelaksanaan perburuan dapat menghancurkan kekuatan
jahat Dracula. Unsur –unsur cerita fantasi yang terdiri dari tokoh–tokoh, peristiwa–peristiwa,
ruang dan waktu saling terkait erat sehingga dapat membangun atau menimbulkan efek fantastik.
A. PENDAHULUAN
Karya sastra dapat dikategorikan ke dalam berbagai genre, salah satunya adalah sastra
fantasi. Tujuan fantasi dalam sastra tidak perlu
berbeda dari realitas karena fantasi mestinya
tidak dipahami sebagai pelarian dari realitas
tetapi sebagai investigasi terhadap realitas itu
sendiri. Menurut Apter, (1982: 4) fantasi seringkali dihubungkan dengan kepercayaan dan persepsi yang keliru atau karakteristiknya tidak riil.
Penggunaan fantasi tampaknya berbeda dari karakterisasi sastra fantasi, meskipun terdapat persamaan yang menjustifikasi penggunaan istilah
yang sama. Karakteristik fantasi berbagi dengan
proses tidak sadar tidak mesti menunjukkan
penghalangan karakteristik. Sastra fantasi
mena-warkan pemenuhan harapan, ketertarikan
atau hiburaan belaka, untuk lepas dari asumsi
kebia-saan. Jadi fantasi bukanlah suatu alat
peng-hiburan dan penyembuhan tetapi sebagai
alat meregister kekalahan dan ketakutan.
Sebagai genre karya sastra, terhadap
sastra fantasi dapat dilakukan analisis seperti
karya sastra yang lain. Tentu saja jika menganalisis sastra fantasi perlu memperhatikan unsur
yang terdapat di dalamnya dan juga fungsinya.
Menurut Prihatmi (dalam Sariban, 2009: 51),
konsep fantasi memiliki dua arti : umum dan
khusus. Fantasi secara umum adalah semua aktifitas imajiner. Semua karya sastra adalah fantasi. Fantasi dalam pengertian khusus memiliki
arti bahwa semua karya yang tidak disajikan secara realis, yaitu : mite, legenda, dongeng rakyat atau dongeng peri, alegori-alegori khayal,
rekaan-rekaan impian, cerita-cerita mengerikan,
yang keseruannya menyajikan bidang-bidang
yang „lain‟ dari yang dikenal.
Berdasarkan konsep sastra fantasi di
atas, novel Dracula karya Bram Stoker
termasuk karya sastra fantasi dalam arti khusus
yaitu cerita yang mengerikan. Berikut akan
dilakukan analisis pada karya tersebut yang
difokuskan pada motif/tema dan unsur-unsur
cerita fantasi. Adapun pemilihan focus
berlandaskan pra ana-lisis ketika membaca
novel Dracula ditemukan motif/tema yang
menonjol yaitu vampir. Semen-tara itu unsur
cerita fantasi seperti ruang dan peristiwanya,
adalah salah satu unsur yang juga menonjol.
49
Masriatin
cerita fantasi mampu mempengaruhi pembaca
untuk percaya pada apa yang disajikan bersama
unsur-unsurnya. Dengan kata lain ini adalah
masalah bagaimana penulis cerita fantasi “make
believe” pembacanya.
B. PEMBAHASAN DAN ANALISIS
1. Konsep Sastra Fantasi
Di dalam buku Forster, (1955) yang berjudul Aspects of the Novel, disebutkan bahwa
terdapat tujuh aspek novel yaitu the story, people, people (continued), the plot, fantasy, prophecy, and pattern+rhytm. Jadi fantasi adalah
salah satu aspek. Sementara itu Djokosujatno,
(2005) menggunakan istilah fantastik dan
Apter, (1965) menggunakan kata fantasy.
Untuk selanjutnya kata fantasi yang akan
digunakan untuk maksud yang sama agar konsisten. Tentang cerita fantasi Castex (Djokosujatno, 2005: 5) mendefinisikan :
Sebaliknya cerita fantasi ditandai oleh
lintasan suatu misteri yang tiba-tiba dan tak terduga, yang terjadi dalam kerangka kehidupan
nyata; cerita fantastik umumnya berhubungan
dengan suatu keadaan psikis yang tidak sehat,
gejala mimpi buruk atau delirium, yang memproyeksikan gambaran-gambaran kekhawatiran
atau ketakutannya.
Dari definisi tersebut dapat dicermati penanda cerita fantasi. Setiap definisi yang ada
memperlihatkan keterbatasan dan kekurangan,
mungkin karena mewakili korpus yang menjadi
sumbernya. Karena itu makna fantasi tidak mudah difahami dan bisa bervariasi tergantung dari
bagaimana pembaca memahami cerita fantasi
itu sendiri. Hal tersebut juga dipengaruhi oleh
pengalaman-pengalaman yang terjadi di dalam
kehidupan pembaca.
Sementara itu Forster (1955:112) menjelaskan bahwa fantasi mengandung konsep
alam gaib tetapi tidak perlu dinyatakan secra
gamblang. Yang penting bagaimana penulis cerita fantasi dapat membawa pembacanya ke
alam gaib, ke zaman yang akan datang atau ke
zaman lampau, ke dalam bumi atau bahkan ke
alam yang berdimensi empat. Pembawaan ke
zaman tersebut tetap terjalin dengan masa kini
sehingga tampak alami dan tidak terlalu dibuatbuat. Jadi ini adalah masalah bagaimana penulis
2. Motif dan Tema Fantasi.
Di dalam pendahuluan telah disebutkan
bahwa fokus analisis ialah motif dan tema serta
unsur-unsur cerita fantastis. Berkenaan dengn
motif dan tema, Caillois (Djokosujanto, 2005:
53) membuat daftar sebagai berikut: perjanjian
dengan setan, jiwa yang tersiksa, roh yang dihukum untuk hidup abadi, orang mati yang hidup
kembali, hal tak terlihat yang bisa membunuh,
Intervensi mimpi dan realita, rumah atau hunian
yang lenyap dari ruang, hentian atau pengulangan. Sedangkan Penzoldt berpendapat bahwa
fantasi adalah perwujudan arketip-arketip yang
menakutkan dalam sastra, membuat daftar motif
sebagai berikut: setan, hantu, vampire, serigala
jadi-jadian, wanita penyihir, makhluk tak terlihat, hantu binatang, makhluk-makhluk dalam
fiksi ilmiah dan fantasi psikologis.
Selaras dengan apa yang disampaikan
oleh Caillois dan Penzoldt, Forster (1955: 112)
menjelaskan bahwa fantasi mengandung konsep
alam gaib, tetapi tidak dnyatakan dan kalau ada
fungsinya diguakan oleh penulis cerita fantasi
dengan cara memperkenalkan dewa, hantu,
bidadari, kera, monster, manusia cebol yang
aneh, nenek sihir dalam kehidupan sehari-hari;
ataupun membawa manusia biasa ke alam gaib,
ke alam yang akan datang, ke zaman lampau, ke
dalam bumi, ke alam empat dimensi ataupun
menyelami dan menganalisis pribadi manusia;
dan juga kaidah penciptaan parodi atau penyesuaiannya. Kaidah-kaidah tersebut tidak perlu
menjadi basi karena secara alami akan terjadi
pada penulis dengan temperamen tertentu dan
diletakkan pada penggunaan yang lebih baru.
Tetapi fakta bahwa jumlahnya sangat terbatas
inipun merupakan daya tarik. Karena itu pence-
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1-7, Nopember 2015. ISSN 2302-6278
rahan ini hanya dapat dimanipulasi dengan cara
tertentu.
Motif dan tema dalam sebuah cerita tidak
pernah berdiri sendiri. Dan dalam keadaan
terpisah seringkali tidak dapat menimbulkan kesan fantastik yang relative kuat. Agar menimbulkan kesan fantastik, motif dan tema membutuhkan sejumlah atribut atau detail atau deskripsi khusus. Selain itu penting sekali adanya
dekor realis yang dibangun dari tema-tema
realis dan unsur-unsur cerita lain: tokoh, peristiwa, ruang dan waktu–yang ditata dan disajikan dengan uraian atau detil yang memadai
untuk menim-bulkan kesan riil (Djokosujatno,
2005:25). Unsur-unsur tersebut akan ditinjau
lebih detil berikut ini.
pada waktu nyata atau waktu historis. Kesan riil
menuntut alur yang ketat, sebab akibat. Oleh
karena itu cerita fantasi umumnya menyajikan
rangkaian peristiwa yang sederhana, tetapi mempunyai kausalitas yang kuat, yang secara keseluruhan dapat diringkas dengan mudah.
Ruang selain membangun dunia riil, juga sering
berfungsi untuk menciptakan kesan seram.
Ruang fantasi adalah ruang yang terpencil, terpisah dari dunia ramai. Meskipun tidak harus
tetutup, ruang selalu membuat tokoh merasa
terjebak, terperangkap, tak dapat keluar dari
situ. Biasanya tokoh seakan tergiring ke ruang
tersebut oleh suatu dorongan atau panggilan
hati yang tak bisa dipahaminya. Pengarang
Barat suka menggunakan daerah luar kota sebagai latar cerita, kediaman atau puri-puri kuno
dalam cerita fantasi mereka.
Sedangkan waktu fantasi yang paling
hebat adalah malam hari ketika cahaya menimbulkan bayangan-bayangan aneh pada semua
benda dan dunia menjadi wingit dan serasa bukan milik manusia. Termasuk di dalamnya adalah waktu-waktu antara siang hari dan malam
hari, yaitu senja hari, yang dianggap “sandi
kala”. Waktu fantasi adalah juga waktu yang
durasinya tidak masuk akal. Lebih banyak lagi
tema fantasi menyangkut waktu yang dapat
ditemukan dalam cerita fantasi Barat yang memanfaatkan semua keunggulan dari persilangan,
paralelisme, maupun kelenyapan waktu.
Berdasarkan fokus yang sudah ditetapkan dalam pendahuluan dan konsep/teori fantasi
yang telah ditinjau, analisis cerita fantasi dalam
novel Dracula karya Bram Stoker dideskripsikan sebagai berikut.
3. Tokoh, Peristiwa, Ruang, dan Waktu
Tokoh dalam cerita fantasi biasanya mengisi peran-peran tertentu, sebagai korban peristiwa fantastik, tokoh yang mendengar cerita
tentang sesuatu peristiwa fantastik yang dialami
tokoh lain, atau yang menyaksikan dan mengalami peristiwa supranatural (tetapi tidak percaya
meskipun merasa ketakutan), dan sebagai penutur. Biasanya dalam cerita fantasi, dipertentangkan antara tokoh yang percaya akan hal-hal supranatural dan yang tidak percaya. Dan meskipun perbandingan jumlah tokoh yang percaya
dan tidak percaya tidak proporsional, perbedaan
tokoh itu tetap meninggalkan keraguan, Tokoh
yang mengalami gangguan psikis juga sering
ditemukan dalam genre fantasi, misalnya gangguan mimpi dan halusinasi yang parah. Tokohtokoh tua yang menimbulkan kesan kuno, arkais sering dipertentangkan dengan tokoh yang
berkesan modern dan aktual. Tokoh yang sakit
sekali menjadi pucat, tidak bergerak, dan membisu juga menimbulkan efek bukan manusia
hidup dan bukan dari dunia kita; apalagi tokoh
vampir yang juga hidup dari abad ke abad dan
tampak muda dan perkasa.
Sementara itu, ruang diterima pembaca
sebagai ruang yang sangat riil karena merujuk
4. Motif dan Tema
Di dalam novel Dracula setidaknya dapat
diketengahkan tiga tema yaitu vampir, perburuan menghancurkan kuasa jahatnya dan persahabatan sejati. Tema-tema tersebut merupakan akumulasi dari berbagai motif. Atau dengan
kata lain dari motif-motif yang ditemukan
51
Masriatin
dalam Dracula terbentuklah tema. Dari sinilah
analisis dimulai dengan motif jiwa yang tersiksa
keta-kutan, kengerian dan mengakibatkan
shock.
Hal tersebut dialami Jonathan Harker
yang ditugasi oleh firma tempat dia bekerja.
Jonathan diutus untuk menemui seseorang bernama Count Dracula. Di dalam perjalanan dia
mengalami kejadian-kejadian aneh dan mengerikan mulai dari suami istri yang menyambutnya dengan ketakutan di hotel singgah sebelum
melanjutkan perjalanan ke puri Dracula; anjinganjing dan serigala yang melolong menakutkan,
kusir kereta kuda penjemputnya yang misterius
sampai pada mimpi buruk terus menerus dalam
tidurnya. Apa yang dialami begitu menakutkan
seperti yang dia gambarkan sebagai berikut:
“Aku merasa tubuhku menjadi, lumpuh
karena ketakutan. Semuanya begitu
aneh mengerikan hingga aku dilanda
rasa takut dan tak berani bergerak atau
bagai contoh dapat dilihat dari apa yang dialami Lucy berikut ini.
“… mimpi buruk itu dengan suarasuara yang membuatku ketakutan setengah mati/suara-suara kepak sayap pada jendela, suara-suara di tempat jauh
yang seolah dekat, suara keras entah
berasal dari mana memerintahkan untuk
melakukan entah apa …“ (Stoker, 2009
:194).
Mimpi-mimpi buruk itu juga amat mengganggu Jonathan dan Mina. Mereka mengalaminya tetapi tidak bisa menyentuhnya, tak bisa
menimbang atau mengukurnya. Rasa takut yang
ditimbulkan mimpi tersebut tak terbantahkan.
Itulah efek mimpi buruk dimana drakula memberi
suatu peringatan, alarm yang tak nyata tapi ada,
gaung yang halus namun mengganggu yang tak
tertangkap oleh akal sehat kita, yang tertangkap
dengan nyaring dan jelas oleh organ-organ bawah
sadar mereka.
Motif berikutnya adalah binatang jadijadian. Di dalam novel Dracula ini binatang jadijadian yang muncul adalah tikus, anjing dan
serigala. Tikus dalam jumlah ribuan tiba-tiba
mun-cul dan menghilang ketika para pemburu
Count berhasil mendobrak tempat tinggalnya
yang baru di London. Tentu saja ini menimbulkan
efek yang menakutkan. Sementara itu gonggongan anjing muncul tanpa benar-benar terlihat
anjingnya. Ditambah lagi dengan lolongan serigala yang membuat miris. Dibanding dengan tikus
dan anjing, serigala ini mendominasi di dalam
pemun-culannya. Dengan situasi yang mendukung misalnya munculnya selalu di malam hari
ketika tidak ada sinar rembulan, dan dalam
suasana sepi, maka lolongan serigala benarbenar dapat mendirikan bulu kuduk, seperti
berikut:
“Sebaliknya, suara lolongan serigalaserigala terdengar makin lama makin
dekat seolah-olah binatang-binatang itu
mengepung kami dari segala arah. Aku
berbicara” (Stoker, 2009: 32).
Perasaan takut, ngeri, dan shock juga dialami Lucy setelah kejadian di pekuburan ketika
dia yang mempunyai kelainan tidur sambil berjalan dan secara tidak sadar telah diisap darahnya. Sementara itu Renfield pasien Dr. Seward
pada saat-saat tertentu mengamuk dan tak
terkendali. Sedangkan nakhoda kapal sebelum
meninggal juga mengalami kengerian luar biasa. Perasaan yang sama juga dialami oleh perawat rumah sakit dimana Lucy dan Ibunya dirawat. Mereka semua mengalami shock berat
yang merusak jiwanya.
Motif lain yang masih berhubungan erat
dengan motif jiwa yang tersiksa ialah intervensi
mimpi dan realita, yang paling dominan mengalaminya ialah Jonathan, Lucy dan Mina. Dapat
dipahami kenapa mereka bertiga yang paling
sering mengalami mimpi-mimpi buruk dalam
tidurnya karena mereka adalah korban.
Jonathan seringkali mengalami mimpi buruk
ketika dia terperangkap di puri Count Dracula.
Bagaimana mimpi-mimpi buruk itu terjadi se52
1-7, Nopember 2015. ISSN 2302-6278
menjadi takut begitu pula kuda-kuda”.
(Stoker, 2009: 30).
Sementara itu motif orang mati yang hidup kembali perlu diberi penjelasan yang lebih
gamblang. Dari satu sisi bisa saja motif ini tumpang tindih dengan motif vampir karena hidupnya kembali orang yang sudah mati tadi memang untuk mencari mangsa dengan menghisap
darah manusia hidup. Untuk kepentingan analisis motif yang bervariasi, masing-masing akan
dideskripsikan sendiri-sendiri. Motif manusia
mati hidup kembali ini mengarah pada Lucy.
“Napas Lucy kembali mendengkur, dan
tiba-tiba berhenti sama sekali. Su-dah
berakhir, kata Van Hesling. Dia sudah
tiada“ (Stoker, 2009: 227)
“Matiku sendiri serasa membeku, dan
kudengar Arthur tersedak waktu kami
mengenali ciri-ciri Lucy Westenra pada
sosok putih yang bergerak maju”
(Stoker, 2009: 295)
Dari teks di atas dapat dijelaskan bahwa
Lucy sudah mati. Tetapi ketika Van Hesling
dengan kawan-kawan membuka peti mati Lucy
– peti itu kosong. Selanjutnya mereka mengintai dan menemukan Lucy kembali lagi ke peti
itu. Pada saat itu mereka belum dapat percaya
bahwa Lucy berubah aneh. Tetapi faktanya
Lucy yang sudah mati, hidup kembali.
Contoh temuan motif dari tema vampir
adalah motif vampir itu sendiri. Ditemukan 3
vampir di dalam novel ini ialah Count Dracula,
vampir 3 wanita dan vampir Lucy. Untuk 2
yang disebut terdahulu memang tidak diketahui
asal-muasalnya mereka menjadi vampir. Seperti
yang telah disebutkan diatas bahwa untuk Lucy
bisa dimasukkan pada motif vampir. Proses
menjadi vampir Lucy berawal dari kebiasaan
Lucy tidur sambil berjalan. Ketika itu Mina
sedang berkunjung ke rumah Lucy. Dia mendapati Lucy tidak ada di dalam kamar dan berusaha mencarinya dan menemukan Lucy dalam
tidurnya berjalan menuju makam pada malam
hari. Pada saat itulah tanpa sadar dia telah
dihisap darahnya oleh vampir Dracula.
“Lubang-lubang pada leher anak-anak itu
dibuat oleh miss Lucy” (Stoker, 2009 : 271)
Dan kutipan di atas dapat diketahui bahwa Lucy akhirnya yang menjadi vampir sama
seperti Count dan tiga wanita vampir yang pernah menggoda Jonathan ketika sedang berada di
Puri Count Dracula. Dracula ini bisa menjadi
manusia biasa tetapi dengan penampilan fisik
yang aneh. Dia bisa merubah dirinya dengan
kelelawar, atau sinar bulan, dengan kemunculan
setelah matahari terbenam. Demikian tiga vampir wanita yang berada di puri Count.
Selanjutnya dari tema perburuan untuk
menghancurkan kuasa jahatnya dapat ditemukan beberapa contoh motif. Seperti diketahui
dari novel Dracula bahwa ada enam orang yang
berani menghadapi Count dan bertekad memburunya. Mereka adalah Mina Haker yang
keberaniannya telah menyelamatkan suaminya
dari kegilaan, Jonathan. Harlan, penasihat hukum yang tanpa sadar telah membuka jalan
baginya, Dr. John Sevard dan Lord Goldaming
yang terpaksa membunuh wanita sama-sama
mereka cintai, dan professor Abraham Van
Hesling satu-satunya orang yang mengetahui
kekuatan Dracula serta bahaya yang mengancam hidup dan jiwa mereka. Hanya dialah yang
tahu apa artinya menantang kejahatan Dracula.
Dalam perburuan ini, motif persiapan dan
strategi perburuan disusun, baru setelah itu
dilaksanakan. Mereka mempersiapkan segala
sesuatu dengan cermat. Mereka juga berbagi tugas dan mengatur strategi yang tepatnya seperti
tergambar dalam kutipan berikut:
“Setelah melihat dengan cepat ke sekelilingnya, ia langsung mengatur serangan, dan tanpa mengucap sepatah
katapun hanya dengan isyarat saja,
ditempatkannya kami pada posisi masing-masing. Aku, Van Hesling, dan
Harker harus berdiri tepat di belakang
pintu, sehingga bila pintu terbuka, pro53
Masriatin
fessor menghadangnya, sedangkan kami berdua harus berdiri di antara orang
yang masuk itu dengan pintu. Goldaming di belakang dan Quency di depan,
berdiri di tempat yang tak kelihatan,
siap untuk menyerang di jendela.”
(Stoker, 2009: 421)
Sebelum mereka menyusun strategi penyerangan seperti diatas mereka juga sudah
membicarakan bagaimana caranya membunuh
Dracula: yaitu dengan cara memotong kepalanya dan menusuk jantungnya. Cara ini juga
dipergunakan ketika membunuh Lucy. Ruparupanya dari Van Hesling mereka tahu bahwa
itulah satu-satunya cara untuk membunuh
vampir tersebut.
Tema lain yang dapat diketengahkan
adalah persahabatan sejati. Dari tema persahabatan sejati ini dapat ditemukan setidaknya dua
motif yaitu kesetiaan dan keikhlasan. Dari keenam orang yang sudah diceritakan di atas,
empat orang laki-laki telah menyumbangkan
darah kepada Lucy dengan ikhlas atas nama
persahabatan. Yang paling mengharukan adalah
apa yang dilakukan oleh Van Hesling. Dia berada di kota lain tapi dengan senang hati, datang
dan membantu temannya, seperti yang dapat
kita pahami dari kutipan berikut:
“…. Aku ingin segera mendatangi temanku begitu ia memintakan datang
untuk orang yang disayanginya. Ceritakan pada temanmu itu bahwa kau pernah mengisap racun dilukaku. Katakan
padanya bahwa jasamu padanya untuk
segera minta bantuanku saat ia membutuhkannya lebih besar artinya dari pada
seluruh hartanya.” (Stoker, 2009: 164)
Dari keseluruhan cerita setelah kese-diaan
Van Helsing untuk membantu memang dapat
diketahui bagaimana totalitas professor ini dalam membantu teman yang sedang dalam kesulitan.
Hal tersebut terjadi baik ketika Lucy
sakit/meninggal, cara untuk membebaskan
Lucy dari menjadi vampir dengan membunuhnya. Demikian juga betapa mereka berteman
saling mendukung ketika Mina dalam keadaan
gawat.
5. Tokoh, peristiwa, ruang, dan waktu
Berdasarkan konsep yang telah dikaji di
depan, unsur cerita fantasi dapat difokuskan
pada tokoh, peristiwa, ruang, dan waktu. Jika
tokoh dipilah dari yang mengisi peran menjadi
korban peristiwa fantastik adalah Jonathan,
Lucy, dan Mina. Peristiwa yang dialami Jonathan terjebak di Puri Count Dracula membuatnya shock dan hampir gila. Kabar sakitnya Jonathan dikirim melalui surat oleh seorang suster
bernama Agatha.
“Saya menulis mewakili Dr. Jonathan
Harker yang belum kuat menulis, meskipun berkat perawatan di St. Joseph dan
St. Mary, kesehatannya sudah mengalami
kemajuan. Sudah hampir enam minggu ia
berada dalam perawatan kami, karena
menderita demam otak hebat.” (Stoker,
2009: 146)
Kabar itu jugalah yang membuat Mina
berangkat ke rumah sakit dimana Dr. Jonathan
dirawat. Di rumah sakit inilah mereka berdua
menikah. Mina menemani, merawat, menjaga,
dan membesarkan hati Jonathan. Jonathan juga
menyerahkan buku catatan harian tentang apa
yang dialami di Puri Count Dracula dengan satu
permintaan untuk tidak dibuka dan digunakan,
kecuali dalam keadaan yang memang betulbetul diperlukan. Berkat kesetiaan Mina merawatnya dengan kasih sayang dan cinta akhirnya
Jonathan terbebas dari penyakit yang menekan
psikisnya.
Berbeda dengan apa yang dialami Lucy.
Dia adalah korban yang diisap darahnya oleh
Dracula yang akhirnya juga membawa dia
menjadi vampir yang menghisap darah anakanak. Proses sampai Lucy menjadi korban
memang berliku: mulai darahnya diisap
Dracula, sakit dan meninggal, menjadi vampir
54
1-7, Nopember 2015. ISSN 2302-6278
penghisap darah anak-anak, dan akhirnya dibunuh oleh orang-orang yang mencintainya
supaya dapat mati normal.
“Anak itu bisa menderita luka kecil di
lehernya seperti terlihat pula pada
anak-anak lain dalam peristiwa yang
sebelumnya. Setelah sembuh, dia juga
punya cerita yang sama, yaitu bahwa
dia dilahirkan oleh “setan wanita”.
(Stoker, 2009: 249)
Tokoh lain yang menjadi korban adalah
Mina Harker. Dia juga berbeda dengan apa
yang dialami oleh Lucy. Mina menjadi korban
justru ketika dia sedang ikut membantu pemburuan Dracula. Memang akibatnya tidak separah
Lucy, tetapi meninggalkan tanda di dahinya
yang me-mbuatnya shock berat. Demikian juga
dengan Jonathan dan teman-teman lainnya.
Bahkan dia juga merasa ikut terkena pengaruh
vampir itu. Inilah yang terjadi pada Mina.
“Tangan itu mencengkeram leher wanita itu menunduk sampai ke dadanya.
Pakaian tidur Mrs. Haker yang pu-tih
berlumuran darah, dan darah itu mengalir ke dada telanjang Count yang kemejanya terbuka.” (Stoker, 2009: 389)
Sementara itu tokoh-tokoh lain yang tidak
menjadi korban, tapi malah berusaha menyelamatkan korban, ialah Quency Morris, Lord
Goldaming dan Dr. John Seward. Mereka bersama Jonathan dan Arthur akhirnya bekerja
sama untuk memusnahkan Dracula. Sosok Dracula ini berkali-kali digambarkan dengan detil
oleh Jonathan.
“Susunan tubuh dan wajahnya unik–bergaris keras sekali, hidungnya bengkok,
batang hidungnya lebar sedangkan cuping hidungnya melengkung. Dahinya
tinggi, rambutnya lebat, tapi pada pelipisnya tipis. Alisnya tebal sekali, hampir
bertemu di atas hidungnya, seperti senah
yang melingkar-lingkar. Mulutnya sejauh yang dapat kulihat melalui kumisnya
yang lebat, kaku dan tampak kejam.
Giginya berbentuk aneh, tajam dan
putih, serta menjorok keluar dari bibirnya yang merah dan segar sekali, suatu
hal yang mengejutkan, karena menunjukkan tenaga hidup yang besar, padahal
ia sudah berumur. Telinganya pucat, dan
bagian atasnya runcing sekali, dagunya
lebar dan kokoh, sedangkan pipinya kencang, namun tirus. Secara umum, ia sangat pucat waktu tangannya diletakkan di
atas lutut dan kena cahaya api, kulihat
punggung tangannya putih dan halus.
Tapi setelah kulihat dari dekat, ternyata
tangan itu kasar, telapak tangannya lebar,
dan jemarinya bengkok. Yang paling
aneh, ditengah-tengah telapak tangannya
tumbuh rambut. Kukunya panjang dan
halus, di potong sangat runcingnya.
Waktu Count membungkukkan tubuh ke
arahku dan menyentuh tubuhku, aku bergidik tanpa bisa ditahan, napasnya berbau
busuk hingga aku merasa amat mual.”
(Stoker, 2009: 38)
Adapun unsur cerita yang berikutnya adalah garis besar peristiwa-peristiwa penting yang
terjadi di dalam novel Dracula adalah sebagai
berikut.
1. Keberadaan Jonathan Harker di Puri Dracula karena ditugasi oleh perusahaan di
mana dia bekerja.
2. Pertemuan dengan Count Dracula dengan
keanehan, ketakutan dan kengerian menyebabkan dia shock hebat sampai harus dirawat di rumah sakit.
3. Kedatangan Mina di rumah sakit, pernikahan mereka, dan penyerahan buku catatan
harian Jonathan kepada Mina yang kelak
menjadi dokumen penting.
4. Sakitnya Lucy karena dihisap Count, meninggalnya dia dan menjelma menjadi vampir yang mengisap darah anak-anak kecil,
dan dibunuhnya Lucy untuk menyelamatkan dia dari kemautan yang tidak wajar.
55
Masriatin
5. Bantuan teman-teman Lucy yaitu Mina Dr.
Seward Van Helsing, Quince Morris, dan
juga Arthur tunangannya serta Jonathan suami Mina dalam rangka menyelamatkan
Lucy.
6. Perburuan enam sekawan di atas untuk menghancurkan kuasa jahat Dracula.
7. Di tengah usaha keras mereka dalam butir 6
tersebut, Mina juga menjadi korban Count
Dracula.
8. Hal tersebut (butir 7) makin membulatkan
tekad mereka untuk menghancurkan Dracula.
9. Penjurusan strategi dan pelaksanaannya untuk
membunuh Dracula.
10. Keberhasilan mereka membunuh Dracula
yang berarti juga menghancurkan juga kuasa
jahatnya.
Peristiwa-peristiwa tersebut di atas tentu saja tidak dapat berdiri sendiri. Efek fantastik
dari peristiwa-peristiwa itu sangat erat kaitannya dengan ruang dan waktu terjadinya peristiwa. Keanehan-keanehan yang muncul di dalam peristiwa, ruang, dan waktu juga memberikan manusia kengerian yang ditimbulkan
olehnya. Ruang dan waktu di dalam novel
Dracula akan di identifikasi dan dideskripsikan
secara singkat untuk menunjukkan keterkaitannya dengan peristiwa-peristiwa yang telah dipaparkan sebelumnya. Dengan asumsi bahwa ruang dan waktu juga berkaitan sangat erat maka
di dalam mendeskripsikan keduanya tidak dipisahkan sebagai subbagian. Identifikasi dan deskripsi ruang dan waktu disajikan sebagai
berikut:
1. Tempat-tempat yang dilalui atau disinggahi
ketika Jonathan dalam perjalanan menuju
puri Dracula.
- senja sudah larut malam di Bistriz
- hotel singgah bernama Golden Krone
Hotel bertepatan dengan malam hari St.
George di mana saat jam berbunyi pada
tengah malam semua yang jahat di dunia ini
akan bebas merdeka
Di dalam perjalanan tersebut juga terjadi
keanehan-keanehan yang menimbulkan ketakutan dan kengerian.
2. Puri Count Dracula
Puri tua berumur ratusan tahun dengan kesan gotik yang belokasi terpencil menjulang
tinggi di perbukitan yang dikelilingi oleh
pohon-pohon tua yang memberi kesan suram dengan tidak adanya lampu penerang
halaman.
Keanehan terjadi misalnya tidak tampak
adanya orang selain Count dan juga tidak
di-temukan cermin di kamar maupun di
tempat lain yang terlihat. Di samping itu
juga Count Dracula selalu meninggalkan
tempat ketika matahari terbenam dan datang ketika matahari terbit. Di puri ini juga
Jonathan “digoda” oleh tiga wanita cantik
tapi aneh yang ternyata juga vampir.
3. Kapal di laut di mana Count berada di situ.
Kengerian muncul karena pada malam hari
awak kapal ketakutan dan bahkan ada yang
mati dan bahkan nahkodanya juga mati.
4. Kuburan dimana Lucy pertama kali diisap
darahnya oleh vampir dan juga kuburan
tempat dimakamkan dan kekar masuk dari
peti matinya sebagai vampir.
5. Sanatorium di mana Dr. Seward bekerja
dan mempunyai pasien khusus bernama
Renfield yang terkena pengaruh jahat.
6. Rumah persembunyian Count Dracula yang
berada di belakang Sanatorium dimana terjadi pengepungan oleh enam sekawan di
tempat tersebut.
Demikianlah tokoh-tokoh, peristiwaperistiwa, ruang, dan waktu yang saling berkaitan yang merupakan unsur-unsur cerita fantasi.
unsur-unsur tersebut di dalam novel Dracula
sangat kuat seolah-olah memberi efek mimpi
buruk dimana impian seolah-olah nyata, dan
kenyataan seolah-olah mimpi yang mengganggu perasaan kejiwaan para tokohnya.
56
1-7, Nopember 2015. ISSN 2302-6278
C. SIMPULAN
Dari pembahasan di atas dapatlah diambil kesimpulan sebagai berikut:
Setidaknya dapat ditemukan tiga tema di dalam
novel Dracula yakni vampir, perburuan menghancurkan kekuatan jahatnya, dan persahabatan
sejati. Dari tema pertama ditemukan motifmotif yaitu jiwa yang tersiksa, intervensi mimpi
dan realita, dan binatang jadi-jadian. Sedangkan
dari tema kedua ditemukan motif-motif Persiapan dan strategi perburuan, serta pelaksanaan
perburuan untuk menghancurkan kekuatan jahat
Dracula.
Sementara itu, dari unsur-unsur cerita
fantasi yang terdiri dari tokoh-tokoh, peristiwaperistiwa, ruang dan waktu saling terkait erat
yang dapat membangun atau menimbulkan efek
fantastik.
KEPUSTAKAAN
Apter, T.E. 1982. Fantasy Literature. London:
The Macmillen Press, ttd
Djokosujatno. Aspanti. 2005. Cerita Fantastik
Dalam Perspektif Genetik Struktural.
Yogyakarta: Djambatan
Forster, E.M. 1955. Aspects of the Novel.
United States of America: Harcourt,
Inc.
Sariban, 2009. Teori dan Penerapan Penelitian
Sastra. Surabaya: Lentera Cendekia
Stoker, Bram. 2009. Dracula. Jakarta: PT
Gramedia Pustaka Utama
57
Masriatin
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