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for the readers to evaluate a literary work 6-15. Those approaches are the formalist approach, biographical approach, the sociocultural-historical approach,
the mythopoeic approach, and the psychological approach. 1.
The first is the formalist approach. It is concerned with demonstrating the harmonious involvement of all parts to the whole and with pointing out how
meaning is derived from structure and how matters and technique determine structure 6-7.
2. The second is the biographical approach. This approach provides useful
facts about the author will help the readers to have a better understanding and appreciation toward the literary object 8-9.
3. The third is the sociocultural-historical approach. This approach is
concerned with the social background in which work of literary was created. In short, before one can understand well a work of literature, he or she has to
know the social, cultural, and historical aspects of the literary works because these aspects are inseparable from the literary object 9-11.
4. The forth approach is the mythopoeic approach. This approach emphasizes
the universal recurrent pattern of human thought. It is believed that the patterns are found in ancient myth, folks rites which are so basic of human to
human thought and have meaning for all humans 11-13. 5.
The last approach is the psychological approach. This approach belives that one’s imagination, capacity for creation, and complexity of thoughts and
behaviors are expressed through symbolic words, thought and action. The symbols are common to all humans in which can be interpreted in light of
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individual’s experience. This approach involves the effort to locate and demonstrate certain recurrent pattern 13-15.
In this study, the writer used the psychological approach to analyze Dan Brown The Da Vinci Code. By using this approach, the analysis of Jacques
Sauniere’s motivation in the novel can be done profoundly. The psychological approach uses psychological theories to explain human motivation, personality
and behavior patterns written in literary objects. Moreover, this approach believes that characters’ thought, personality, and behavior may reflect their psychological
order.
2.1.2 Theory of Literature
A novel is a kind of litearary work, therefore, i support the analysis by using the theory of literature. This part presents the theoris of literature, which are
divided into two, the theory of character and theory of characterization.
2.1.2.1Theories of Character 1.
Definition of Character
One of the most important elements in the novel is character. A character can be recognized by describing the physical and physiological appearance.
According to Van De Laar and Schoonwoerd 1957: 165 in An Approach to English Literature
writes that characters in a novel must be like actual human being. Characters must be recognizable men and women. According to Abrams
1993: 23, writes that characters are person presented in a dramatic or narrative PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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work who are interpreted by the readers as being endowed with moral, dispositional and emotional qualities that are expressed in what they say the
dialogue, and what they do the action. Therefore, the character is usually easily analyzed from the dialogue or action.
2. Kind of Character
Based on the amount of attention given to the characters, Henkle 1977: 88 divides the characters into major and secondary or minor characters. He also
considers a major character as a protagonist. Major characters are characters observed most often in the novel and whose appearance are frequent 1977: 90-
92. By understanding them, the readers will understand the focal experiences of the novel. Henkle points out that the effectiveness of most novels depend upon the
ability of the major characters to express and dramatize the human issues of the book. On the other hand, the secondary or minor characters are characters that
perform more limited functions. They are generally less complex, or less intense, and drawn in shallower relief, present what is often only one side of the
experience 1977: 97 Abrams 1993: 24 classifies a character into two types: flat character and
round character. A flat character is a single idea and is presented in outline and without much individualizing detail. It means that flat character has dominant
traits and has no desires motivation or conflict. The round character has many dominant traits and complex desire,
motivation and conflict. Therefore, a round character tends to change from the PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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beginning of the story until the end of the story tends to be complex. Thus, round character is difficult to describe. Round character can also called as developing
characters. Foster 1947: 47 describes the advantages of flat character and round
character. Flat characters are easily known by the readers’ emotionally eyes, not by the visual eyes. Emotionally eyes means, it can be described by using the
feeling. The reader can also easily remember the characters because they do not change.
On the other hand, round characters cannot be identified directly and quickly because there are some life aspects that influence them to develop.
Because of those aspects, the readers cannot easily memorize the characters as in the flat characters.
In addition, Perrine 1947: 48 divides character into two parts. The main character, who appears more often in the story than other characters. It appears
from the beginning to the end of the story. Furthermore, the content of the story is focused on the main character. The minor character appears in certain
circumstances and times. His role is less important than the main character because the total rules and focus are on the main character.
2.1.2.2 Theories of Characterization 1.
Definition of Characterization
According to Rohrberger and Woods 1971: 20, characterization is a process where the author creates a character that must be credible. They also add
