digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id
1.8 Definition of Key Term
To avoid any different perceptions between the writer and the readers in understanding the study, it is essential to give some definition of key terms used in
this study. Here are the key terms explained: Struggle: An act of having to deal with difficult situation resolutely,
especially with an adversary of superior power or to make violent efforts to escape from constraint Ratna 187.
Oppression: Oppression is the exercise of authority or power in a burdensome, cruel, or unjust manner. It can also be defined as an act or
instance of oppressing, the state of being oppressed, and the feeling of being heavily burdened, mentally or physically, by
troubles, adverse conditions or people, and anxiety Deborah 87.
Character: Character is a doer in the literary work novel, story, novelette, and also drama. Character in fiction is created by the creator,
although could be described as human being in the real world Sayuti 68
Motivation: Motivation is broadly concerned with the contemporary determinants of choice direction, persistence and vigor of goal-
directed behavior Beck 1978:24
digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id
CHAPTER II
REVIEW OF RELATED LITERATURE
2.1 Theoretical Framework
This chapter is about explanation of theory that will conduct this research. Firstly, it will present definition of character and characterization to analyze about the
characterization of woman character in this researcher. This researches not only to analyses a woman character, but also to reveal woman character and her struggle to
her life and use theory motivation by Abraham Maslow.
2.1.1 New Criticism
Formalism, sometimes called New Criticism even though it has been around a long time involves the careful analysis of a literary text‟s craft. It is how to
paraphrase the text. It based on the text. Ignoring any historical context, any biographical information about an author, any philosophical or physiological issues,
or even any of a text‟s political or moral messages, the formalist is simply interested in taking the text apart to see how it works as a piece of art. It does not need think
about the background of literary work making Gillespie 172. Some of its most important concepts concerning the nature and importance of
textual evidence the use of concrete, specific examples from the text itself to validate
