Theory of Narrative Structures

To answer the first research question, firstly, writer needs to identify the symbols used in the novels. Thus, theory of symbols is needed. Arp and Johnson‟s theory on Symbols is chosen since the theory provides the pointers to find the symbols employed in a novel. After identifying the so called “alleged” symbols, one needs to observe if their meanings are “established and supported by the entire context of the story” Arp and Johnson, 2006: 280. If the alleged symbols do not have meaning inside instead of outside of the story, one should be reluctant to say them as symbols. Secondly, writer needs to learn how the main characters are portrayed in the text to complete the answer of the first research question. Accordingly, theory of characters and characterization will be used in dealing with this same first research questions as it will guide this research to its findings on the characteristics of the main characters. However, in this study, writer will study the characters‟ personality also with the help of the symbols employed in this drama text. This is done since the dramatic text is believed to be full of symbols which represent the main characters. Thus, the next step, after finding the symbols, is to seek for significant correlations between the c haracters‟ actions, thoughts, and dialogues and any things alleged as symbols. This means that both symbols and characters are studied concurrently. Then, a table with symbols along with the characters‟ characteristics they reveal will be drawn to make the process of mapping easier to conduct. Lastly, in trying to prove that William‟s Summer and Smoke was created based on Saussurian binary opposition, the study of theory of Saussurian binary opposition is highly needed. This is because the theory is indeed very crucial in giving the right and grounded findings and results of this research. Moreover, the theory of binary opposition will provide wide and profound information needed to understand the essence of Saussurian binary opposition. Thus, in answering the research question number two, writer needs to describe the way texts narrative structures are built out of symbols and the characters which are so strongly opposed to each other. In attempt to do this, writer will use A.J. Greimas‟ three pairs of binary actants, as he puts them as, subject-object, sender-receiver, helper-opposition. Writer needs to interpret the symbols and characters to understand how ideas and meanings are being shaped, created and reinforced in a text. In other words, writer will come to that understanding not only by attributing the ideas and meanings to the symbols and the characters but also by showing the differences between the two opposing ideas of the binary symbols and characters and elaborating of how those found opposing ideas contribute to the narrative structure of the play itself. 26

CHAPTER III METHODOLOGY

A. Object of the Study

Summer and Smoke 1948 is one of many plays born out of the creativity of the great American playwright, Tennessee Williams. Though it did not receive very enthusiastic respond by critics in its first debut, after more than two decades the play has maintained its appeal. Its success is seen through many production houses that brought Summer and Smoke both to film adaptation and television. In 1961, a film adaptation by Paramount Pictures was directed by Peter Glenville and starred Laurence Harvey, Rita Moreno and Geraldine Page playing her role as Alma. From this, Summer and Smoke earned Academy Award nominations for both Geraldine Page and Una Merkel starring as Mrs. Winemiller. A television version was produced in 1972, starring Lee Remick, David Hedison and Barry Morse. Another production, Eccentricities of a Nightingale, the revised version of Summer and Smoke , appeared on television in 1976, starring Blythe Danner and Frank Langella. Previous studies argue that this two-part-twelve-scene-play presents the same theme of “repressed sexuality” and “psychological regression” as Williams’ other work, A Streetcar Named Desire, which won Williams the Pulitzer Prize. These themes, as the critics put it, are shown through William’s depiction of his heroine, Alma Winemiller, as “prematurely spinsterish” woman in her middle twenties. She is noted by her “excessive propriety and self-consciousness” that tell her apart from her peers. Being the daughter of a reverend, she has that spiritual- above-all-else attitude that makes her ignore her sexuality. This sexual repression of Alma becomes her downfall in the end of the play when she makes a suggestive offer to traveling salesman to enjoy the evening entertainment in Moon Lake Casino. In that point of view, the “psychological regression” theme is apparent. However, these themes as if exclude the other indispensable character of the play, i.e. the hero John Buchanan, from the analysis of the play. There is no room for John in “repressed sexuality” or “psychological regression” since he reflects the contrary. This is what writer considers as the untouched area of the previous studies that center their attention only in the other half of the play. The play will tell about the unrequited love of Alma Winemiller for John Buchanan. It is not because of his lack of interest towards Alma that John does not love her b ack. Intriguingly, John does not think he deserves to love the “angelic” Alma because of their palpably distinct characters. Alma whose father is a minister represents those who regard spirituality above the worldly enjoyment. Meanwhile, John tends to indulge in physical pleasure which makes him a direct opposite to Alma. As the story unfolds, the main characters Alma, who is in the beginning presented as the “angel”, and John, as the “devil”, experience role reversal in the end of the play. John turns out to be a better man as he settles down with a good woman, Nellie, in the Glorious Hill; while Alma, after experiencing shock from