Concept of Representation THEORETICAL FRAMEWORK

So there are two processes, two system of representation 9 , involved. First, there is ‗system’ by which all sorts of objects, people and events are correlated with a set of concepts or mental representations which we carry around in our heads. Without them, we could not interpret the world meaningfully at all. In the first place, then, meaning depends on the system of concepts and images formed in our thoughts which can stand for or ‗represent’ the world, enabling us to refer to things both inside and outside our heads. The form concepts not only things that can be perceive- people or material objects, like chairs, tables and desks but also form concepts of rather obscure and abstract things, which we can not in any simple way see, feel, or touch. The second process depends on constructing a set of correspondences between our conceptual map and a set of signs, arranged or organized into various languages which stand for or represent those concepts. The relation between things--people, objects, events, abstract ideas, etc--, concepts and sign lies at the heart of the production of meaning in language. The process which links these three elements together is what we call ‗representation’. Representation works through language and there are three approaches to explaining how representation through language works. 10 First, reflective approach, in the reflective approach meaning is though lie in the object, person or idea in the real world and language function like mirror, to reflect the true meaning as it already exists in the world. Second, Intentional approach, intentional approach in representation argues the opposite case. It holds that it is the speaker, the author, who imposes 9 Ibid.p. 23. 10 Ibid.p. 24. his or her unique meaning on the world through language. Words mean what author intends they should mean. Third, constructionist approach to meaning in language. This approach recognizes this public, social character of language. It acknowledges that neither thing in them nor the individual users of language can fix meaning in language. Things do not mean: we construct meaning using representational systems – concepts and signs. According to this approach, we must not confuse the material world, where things and people exist, and the symbolic practices and processes through which representation, meaning and language operate. Constructivists do not deny the existence of the material world. However, it is not the material world which conveys meaning; it is the language system or whatever system we are using to represent our concepts. It is social actors who use the conceptual system of their culture and the linguistic and other representational system to construct meaning, to make and to communicate the world meaningful to other. 11 So, things do not mean; we construct meaning, using the representational systems, concepts and sings. The constructionist observes the public and social factor which influences the construction of meaning. In other word, we can construct meaning through language. Representation system consist of the actual sound we make with our vocal chords, the image we make on light sensitive paper with cameras, the mark we make with paint on canvas, the digital impulses we transmit electronically. Representation is practice, a kind of ‗work’, which uses the material objects and effects. But the meaning defends, not on the material quality of the sign but on its 11 Ibid.p. 25. symbolic function. It because the a particular sound and word stands for, symbolize or represent a concept that it can function, in language, as a sign and convey meaning or, as the constructionist says, signify sign.I,fy. The constructionist argues, we use signs, organized into languages of different kinds to communicate meaningfully with others. Languages can use signs to symbolize. But they can also reference imaginary things and fantasy worlds or abstract ideas which are not in any obvious sense part of our material world. 12 In constructionist approach, the world is not accurately or otherwise reflected in the mirror of language. Language does not work like a mirror. Language consist of signs organize into various relationship. But sign can only convey meaning if we possess codes which allow us to translate our concept into language. These codes are crucial for meaning and representation. They do not exist in nature but they are the result of social conventions. From several explanations about representation above, this research uses the constructionist approach to analyze the representation of the Fascism through Lord Voldemort character in Harry Potter and Deathly Hallows. The approach does not reflect a “real” world but rather constructing a new world appropriate for the interest of the representation maker herself.

B. Concept of Ideology

Ideology according to Dictionary of modern politic ideology is: 12 Ibid.p.28. “A systematic scheme of ideas, usu [sic] Relating to politics or society, or to the conduct of a class or group, and regarded as justifying actions, esp [sic] one is held implicitly or adopted as a whole and maintained regardless of the course of events.” 13 As system of ideas of social groups and movements ideologies not only make sense in order to understand the world from point of view of the group, but also as a basic for social practices of group members. However, although ideologies and social practices of group members are closely related, we shall make clear that these are two different notions and that ideologies cannot simply reduced to ‗ideological practice’. Then every Language carries ideology whether we are aware of it or not. We absorb ideology as we learn to speak. Then language, with the ideology inscribed in it, shapes our thinking, in part by making some things seem natural, true, or right. And yet ideology has the effect of hiding some aspects of reality, especially the fact that some aspects are hidden. In children’s literature, there are three main levels ideology according to Peter Hollindale. 14 The first is intended surface ideology that made up of the explicit social, political or moral beliefs of the individual writer, and his wish to recommend them to children through the story. Its presence is conscious, deliberate and in some measure ‗pointed’, even when there is nothing unusual or unfamiliar in the message the writer hoping to convey. If the fictional world is fully imagined and realized, it may carry its ideological burden more covertly showing things as they are but trusting to literary organization rather than explicitly didactic guidelines to achieve a moral effect. 13 Michael A Riff, Dictionary of modern politic ideology New York: St. Martin Press, 1982, p.34. 14 Peter Hunt ed, Literature for children; contemporary criticism New York: Routledge, 1992, p.27. The second category of ideological content is unexamined beliefs of the writer that slip into the text unnoticed. Writers for children like writer for adult cannot hide what their values are. Even if beliefs are passive and unexamined, and no part of any conscious proselytizing, the texture of language and story will reveal them and communicate them. The working of ideology at this level is not incidental or unimportant. The Third is the reality of ideology “hovering over us” that herd’s writers and readers alike toward meanings that are consistent with it. The power of ideology is inscribed within the words, the rule-systems, and codes which constitute with text. As we read it reminds us of what is correct, commonsensical, or ‗natural’. When a text is written, ideology works to make some things more natural to write; when a text is read, it works to conceal struggles and repressions, to force language into conveying only those meanings reinforced by dominant forces of our society. From descriptions above the writer assumes that there is no such thing as an innocent texts, that texts are informed by ideology, some covert but others implicit and often invisible to authors and illustrators. In this research, the character of Lord Voldemort has shown a symptom of Fascism ideology. The kind of ideology that uses in this research is the first level ideology which is created with conscious intentionality expresses a cultural or ideological belief to the young audience who reads it. It will also be this impression that can assist a political ideology in recruiting young readers into passively accepting members of the dominating ideologies presented to them.

C. Fascism