before since it has developed as a complementary resource for creating and interpreting text.
66
It means that elements of conjunction are not primarily devices to link the previous text, but they express certain meaning which presupposes the
presence of other components in a discourse text.
67
In addition, Meyer also gives the explanation about it, he argues that conjunction does not depend on linguistic
item in the prior context like the other types, but it contains the inclusion of various kinds of expression that mark relationship between the previous and next
sentence in a text.
68
Furthermore, Halliday and Hasan classify four types of conjunction; they are additive, adversative, causal, and temporal. Each type of
conjunction has different markers which show a relation among parts of a text.
69
1 Additive Conjunction
Additive conjunction contributes to give additional information without changing information in previous clause or phrase. Additive or addition
conjunction is signaled in a text by the coordinating conjunction and and other transitional expressions such as also, in addition, etc.
70
2 Adversative Conjunction
The basic meaning of adversative relation is contrary to expectation. The expectation is from the content of what is being said.
71
Adversative conjunction is marked in the text by the coordinating conjunction but and other conjunctions
such as however, instead, in contrast, and so on which mark the difference or contrast between parts of a text.
72
3 Causal Conjunction
Causal conjunction marks the relationship of reason, result, and purpose.
73
Causal relationship is marked by expressions such as therefore, as a
66
Halliday and Matthiessen, op. cit., p. 538.
67
Halliday and Hasan, op. cit., p. 226.
68
Meyer, op. cit., p. 107.
69
Halliday and Hasan, op. cit., p. 238.
70
Meyer. loc. cit.
71
Halliday and Hasan, op. cit., p. 250.
72
Meyer. loc. cit.
73
Halliday and Hasan, op. cit., p. 256.
result, so, and etc. So is an informal marker of causation. On the other hand,
therefore or as a result are used in more formal text.
74
4 Temporal Conjunction
Temporal conjunction specifies the time sequence relationship which exists between sentences.
75
This temporal relation is expressed in its simplest form by then. Besides, there are still many sequential senses like after that, an
hour later, finally, at last, and other expressions.
76
Here is an example of each conjunction from Halliday and Hasan:
“For the whole day he climbed up the steep mountainside, almost without stopping.”
- Additive: and in all this time he met no one - Adversative: yet he was hardly aware of being tired
- Causal: so by night time the valley was far below him - Temporal: then, as dusk fell, he sat down to rest.
77
Additionally, the complete devices of conjunction will be mentioned in a table on next page:
78
74
Meyer, op. cit., p. 108.
75
Halliday and Hasan, op. cit., p. 261.
76
Gillian Brown and George Yule, Discourse Analysis, Cambridge: Cambridge University Press, 1993, p. 191.
77
Halliday and Hasan, op. cit., p. 239.
78
Ibid., pp. 242-243.
C. Narrative Passage 1. Notion of Narrative Passage
Narrative passage is one of passages which should be learnt by junior high school students. The term of narrative passage has been defined in some
ways. In general, narrative passage tells a story about a series of events. The story can be fiction or nonfiction. While in specific notion for junior high school
students, narrative passage is an imaginative story in past tense. Besides, the kind of narrative passage to be taught for second year of junior high school students
based on current curriculum is fable.
79
According to Siahaan and Shinoda, “Narration is any written English text in which the writer wants to amuse, entertain people, and to deal with actual or
vicarious experience in different way.”
80
Additionally, Conlin expresses that narration is usually used to tell about personal experiences.
81
She divides narration into non-fiction and fiction. Non-fiction is a true and actual story or event. On the
contrary, fiction is an unreal story or an event which is not actually happened.
82
In line with Conlin’s statement, Coffey also argues that narration tells a story about a
series of events or actions, and it may be fiction or non-fiction.
83
Moreover, Goatly states that “A narrative is a story possibly fictional which is an attempt to make sense of events and happenings in the world.” The
genesis creation myth is the example of narrative that he gives. This story does not only try to make sense of the origin of life on earth, but more particularly
explains why there are seven days in a week.
84
79
Kementrian Pendidikan dan Kebudayaan 2013, Kurikulum 2013, Kompetensi Dasar SMP
, p. 69.
80
Sanggam Siahaan and Kisno Shinoda, Generic Text Structure, Yogyakarta: Graha Ilmu, 2008, p.73.
81
Mary Lou Conlin, Patterns: A Short Prose Reader, New York: Houghton Mifflin Company, 1983, p. 9.
82
Ibid., p. 11.
83
Margaret Pogemiller Coffey, Communication through Writing, Englewood Cliffs: Prentice-Halls, Inc., 1987, p. 19.
84
Andrew Goatly, Critical Reading and Writing; An Introductory Coursebook, New York: Routledge, 2000, p. 33.
In addition, Flyyn and McGuire point out that narrative is the way to tell about a story that has coherent purposes. They also explain that narrative is a story
which happened in past.
85
Furthermore, in accordance with Wardiman et al, a narrative passage usually tells a story in an imaginative way.
86
These are some types of narrative passage:
87
Humor Romance
Crime Real-life fiction
Historical fiction Mystery
Fantasy Science fiction
Diary-novels Adventures
Based on the above definitions, the writer concludes that however narrative passages tell events in past which mostly the events did not exist or
came from imaginary world, the narrative passages could also tell true events. Additionally, narrative passage is usually made to amuse or entertain its readers.
2. Schematic Structure of Narrative Passage
Narrative passage is a meaningful sequence of events which is told in words. A good narrative passage is usually arranged with a beginning or
orientation, middle or complication, and the end or resolution. In an orientation, the characters are introduced. In a complication, the problems in the story are
constructed. In a resolution, the problems are solved.
88
Moreover, Flyyn and McGuire point out that in a beginning, there must be a summary to relate previous events which help readers understand characters
and situations. Scene which usually constitutes middle of a story is fully developed by events during an action begins, a crisis develops, or a problem is
solved. In ending, full meaning will be shown simply if stories of a narrative
85
Fletcher Flyyn and Thomas G. McGuire, Design 3; Rhetoric and Anthology for College English.
Third Edition, California: Wadsworth Publishing Company, 1982, p. 88.
86
Artono Wardiman, Masduki B. Jahur, and M. Sukirman Djusna, English in Focus; for Grade VIII Junior High School SMPMTs,
Jakarta: Pusat Perbukuan Departemen Pendidikan Nasional, 2008, p. 93.
87
Mark Anderson and Kathy Anderson, Text Types in English 2, South Yarra: Macmillan Education Australia Pty Ltd, 1997, p. 18.
88
Wardiman, et al, op. cit., p. 98.
passage have been connected each other.
89
In addition, William Labov as cited in Goatly elaborates the following elements of a narrative’s generic structure:
Abstract. It is a short summary of the story before a narrative begins. Abstract is an optional, but it provides a signal that a narrative intends to
begin, and that the writer wishes to keep its readers reading.
Orientation. Orientation gives information about who are in the story, when the story is taking place, and where the action is happening.
Complicating action. Complicating action and the resolution are essential elements in a narrative. Complicating action sets off a sequence of events
that influences what will happen in the story.
Resolution. Resolution is provided by last of narrative clauses which began with the complicating action, bringing the sequence of actions and
events to an end. In other word, in resolution, the characters solve the problems that have been created in the complication.
Coda. Coda is a bridge out of narrative. It provides a comment or moral based on what has been learned from the story. It is an optional element
like an abstract.
Evaluation. Evaluation may occur at any point in a narrative, spread in a text between abstract and coda. Labov defines evaluation as those clauses
which do not belong to the narrative action, but delay its forward movements.
90
Referring to the above explanation, there are three main parts in schematic structure of a narrative passage, namely orientation, complication, and
resolution. A narrative passage introduces characters, place, and time of the story in
orientation, develops problems in the story in complication, and solves the
problems in resolution. Besides, some optional parts in schematic structure are
abstract where is placed before orientation, coda where is positioned after resolution, and
evaluation where is spread in a text between abstract and coda.
Here is the example of generic schematic structure of a narrative passage:
89
Flyyn and McGuire, op. cit., pp. 90-92.
90
Goatly, op. cit., pp. 31-32.
