CHAPTER III THEORETICAL FRAMEWORK
3.1 Literature and Psychology
The world literature derives from the Latin Litera letter which primarily refers to the written or printed words. It might be based on the idea that even today we still
often think of literature almost exclusively as written expression. Literature has been exist or well known since last time by every people who love or have a talent to create a
literary work likes story or novel. Especially he or she creates something from their work, all of them expression their knowledge through their experience in their life, such
as , William Shakespeare’s in Romeo and Juliet , Emily Dickinson with her play I’ m no body and who are you.
The world literature is also frequently used in very general sense of the work to refer the whole body of writing in a culture regardless of his purpose. In this sense both
informative writing, such as books on history or geography and imaginative writing belong to the realm of the literature.
Literature sprang up from the imaginative mind of people who have the talent to create the stories, they created it from their experience in their life, and they made it
become a literary work as a reflection of a real life, we can see all social problems in the real life through the literary work.
Some functions of literature, literary works or stories in general may please her listener or readers it has been described earlier that literature has in it an element of
entertaining or to afford pleasure. Every story that they have made very interesting and it brings much knowledge and moral lesson for the readers,
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Literary works may provide their readers with some knowledge as literary works contain various aspect of human life social, cultural, moral, religious aspect readers may get
some lessons from them “utile “ . However, the idea that a literary work should teach “utile “ was rejected in the 19
th
century. Some scholars claimed, “Art is for the art’s sake I’ art pour I’ art “, which means that art literature was created merely for the
sake of art. Literary works may incite the readers to the healing of pride of their notion or
ethnic group because sometime, when the authors make one literary work based on the situation in one country or ethnic group, such as black people in American. Literary work
may raise the reader’s intellect because they make the readers think a lot. To study the literary work, it can bring the readers to learn and think a lot more about literary work
and of course it can make the readers has intellect and much knowledge about literature. There are three theories of literature which can be called imitative mimetic
theory, expressive theory theory of expression and pragmatic or affective theory. However, here the writer just explains about mimetic theory, which have related to the
analysis. The theory of imitation mimetic theory is revealed or goes back to Plato and Aristotle.
Plato introduces this concept in his works and when he describes poetry or literature in general and painting in derogatory terms as imitation from reality, when the
art copies of man – made objects are only copies of a copy. However with Aristotle, has the negative of imitation, where in his poetic he says
that tragedy is an imitation of an action that is serious and complete. Actually in Aristotle, the process of imitation we called it mimesis.
For Aristotle, mimesis describes a process involving the use by different art forms of different means of representation, different manners of communicating that
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representation to an audience, and different levels of moral and ethical behavior as objects of the artistic representation. Thus, Aristotle distinguishes between tragedy and
comedy essentially because of the fact that the former represents noble or morally good agents, while the latter portrays ignoble or morally defective characters. All
forms of mimesis, however, including tragedy and comedy, come into existence because of a fundamental intellectual impulse felt by all human beings.
Aristotles focus in the Poetics is on the genre of tragedy, but he also makes important comments on comedy and epic. His fundamental theoretical stipulations
about the essential nature of mimesis must apply to all genres of literature tragedy, comedy, epic, etc. and all other forms of mimesis music, dance, painting, sculpture,
etc.. These basic stipulations are that mimesis is fundamental to our nature as human beings, that human beings are the most imitative of all creatures, that first learning
experiences take place through mimesis, and that all human beings take pleasure in mimesis because all find learning and inference essentially pleasant. Since the focus
of the Poetics is mainly on literary mimesis, it is necessary for us to concentrate on Aristotles understanding of the way this aspect of mimetic activity leads to the
intellectual pleasure he assigns to art. Aristotle specifies that the function of literary mimesis is to represent a complete
and unified action consisting of a beginning, middle, and linked by necessary and probable causes.
However, Plato, he does not regard this world as a mere of shadow of another. Moreover, he believes that the instinct of imitation is an important one.
One genre of literary work is the novel. Novel present as a documentary pictures of life. Alongside the fact, that the novel look at people in society. In fact, the people in
the novel, was the character even it major or minor character, protagonist and antagonist
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character. A lot of novel have and used to look for the young people as the main character in a story, because as a young man, the people felt that they could to be most to
face odds as usually and character in novel dominated by people. The writer thought that
novel also as a mirror of our life, because the entire story in the novel took from the real life of human by the professional authors or a people who have a talent to write novel, it
can be called novelist or authors. Characters in novels have been specially created by authors. When authors create
characters, they select some aspect of ordinary people, develop some of those aspects whilst playing down others, and put them together as they please. The result is not an
ordinary person but a fictional character that only exists in the words of the novel Novel, nearly always an extended fictional prose narrative, although some novels
are very short, some are non‐fictional, some have been written in verse, and some do not even tell a story. Such exceptions help to indicate that the novel as a literary genre is
itself exceptional: it disregards the constraints that govern other literary forms, and acknowledges no obligatory structure, style, or subject‐matter. Thriving on this
openness and flexibility, the novel has become the most important literary genre of the modern age, superseding the epic, the romance, and other narrative forms.
Novels can be distinguished from short stories and novellas by their greater length, which permits fuller, subtler development of characters and themes.
Confusingly, it is a shorter form of tale, the Italian novella that gives the novel its name in English. There is no established minimum length for a novel, but it is normally at
least long enough to justify its publication in an independent volume, unlike the short story.
The novel differs from the prose romance in that a greater degree of realism is expected of it, and that it tends to describe a recognizable secular social world, often in a
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skeptical and prosaic manner inappropriate to the marvels of romance. The novel has frequently incorporated the structures and languages of non‐fictional prose forms
history, autobiography, journalism, travel writing, even to the point where the non - fictional element outweighs the fictional. It is normally expected of a novel that it should
have at least one character, and preferably several characters shown in processes of change and social relationship; a plot, or some arrangement of narrated events, is another
normal requirement. One statement that the novel’s primary impulse is a mimetic one, we must add
the qualification that the reality imitated is not general nature or the world of ideas but the concrete and temporal reality of modern empirical thought. The novel came into
being in a world dominated by secularism and individualism, a world in which men were losing their belief in the supernatural and institutional bases of life. In many realistic
novels, however, the classical moralistic perspective continues to exist alongside of, and often in disharmony with, the concrete, “serio problematic “representation of life.
Some novels are profoundly concerned with both character and society; others focus primarily on social or on psychological reality.
However, realistic fiction is more concerned with mimesis than it is with the theme and forms the latter are, nonetheless, very important elements in the majority of novels.
Indeed, one of the basis problems of the novel as a genre is that it attempts to integrate impulses, which are disparate and often in conflict. As Northrop Frye observes, the
realistic writer soon finds that the requirements of literary form and plausible content always fight against each other. Novels with more life than pattern, or in which life and
pattern are not integrated, are wanting in the quality of their perception. As Watt himself says, in the novel more perhaps than in any other literary genre,
the qualities of life can atone for the defects of art. The novel weakness is in many cases
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the defects of its virtues, and its virtues are very great indeed. Some novels, of course, are integrated: they are usually those in which the interpretive element either is almost
nonexistent or is incorporated into the mimesis. Such novels have coherent theological structures, but they do not provide the kind of wisdom that Kettle, Watt, and many other
critics seem to be looking for. It is because they contain highly individualized character or extremely detailed pictures of society that many novels lack total artistic integration.
We go to literature for many things, and not the least of them is the immediate knowledge that it gives of variously constituted human psyches. The novel makes its
relations not only through mimetic portraits of characters, but also in many cases, through the picture that it creates of the implied author.
So thinking about novel, the writer should try to see the informing structure; a society and characters that are in some ways at odds with this society. And it is true that
some novelist are moralists – they examine the relation between individuals and society and put forward their ideas about how people should behave – but it would be simple to
say that the important thing about their novels is the message that they preach. The people in a novel are referred as a character but actually, the character in
novels, they are not just like real life people. Characters in novels have been specially created by authors. When authors create characters, they select some aspect of ordinary
people; develop some of those aspects whilst playing down other. Moreover, put them together as they please. The result is not an ordinary person but a fictional character that
only exists in the words of the novel. In some novel there are characters `that are known from the inside and the outside
but who, nevertheless, are not as rich, varied or original. They are characters who have a much more limited life. Their authors have given them a few characteristics, but they do
not develop or change very much, and consequently they rarely surprise the reader. To
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use a metaphor from art, they are lightly sketched in with a few broad lines, but there is a little light or shadow to them. This not to say that they have very little purpose in the
novels in which they appear. Quite often, their presence is very important, but often the readers gain the impression that the author has put them there not because he or she is
interested in them but because they serve a purpose in the total design of the novel. For example; the case of Ida Arnold in Graham Greene’s Brighton Rock. She is
the woman who decides to prove that pinkie, the boy who runs a gag of criminals, has murdered Fred Hale. Pinkie is a strange and deep character, but Ida is simple – she is
friendly, worldly, and good-natured and has a strong, simple idea of justice. Once Greene has established her character, he does not allow her to grow or
change. What he wants is someone who is very different from pinkie, and who will fight for her idea of justice. Even at the moment when she decides to investigate Fred’s death,
Greene makes it clear that there is nothing complex about her: Somebody had made Fred unhappy, and somebody was going to be made
unhappy in return. An eye for an eye. If you believed in god, you might leave vengeance t him, but you could not trust the one, the universal
spirit. Vengeance was Ida is just as much as reward was Ida’s the gluey mouth affixed in taxis, the warm handclasp in cinemas, the only rewards
there was. Moreover, vengeance and reward – they were both fun. Gill Richard 1985 : mastering English literature .
Ida is not only simple in herself, but Greene presents her simply. Ida is bent on revenge, but that is all Greene says. He could have shown someone who was worried
about whether it was right to revenge a death, or someone who had to build up his or her own courage. However, he does neither. He makes Ida work with the simple idea that
since someone had made Fred unhappy, that someone should be made to suffer. Indeed, so simple is her idea of revenge that he makes her look upon it as “fun. “ It is possible for
authors to present simple people in a full and rich way, as Dickens presents Joe in Great
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Expectations, but that is not Greene purpose. He wants someone with a few
characteristics who will have a place in the design of his novel Ida Arnold is the result.
When we read more and know about novel clearly, novel also contains so many knowledge, such as when the novel wrestles with fictitious figures, or character in the
novel, novel presents the psychology and the psychology presents as a knowledge that discuss about human mind in human personality as a character.
Psychology is a science dedicated to the study of behavior and mental process. Psychology: John W. Santrock: 2005, Psychology emerged from two disciplines:
philosophy and natural science. The idea that the mind is not a physical entity came from philosophy.
Sometimes we might think that a psychologist only analyzes people or human problems, many psychologists do analyze people’s problems and try to help them cope
more effectively. However, many psychologists are researchers, not therapists. In fact, psychology is also analyzed about the three concepts important to the definition of
psychology: science, behavior, and mental processes. Psychologist use scientific methods to observe, describe, predict, and explain behaviors and mental processes. Behaviors are
actions that can be directly observed, while mental processes are experiences that cannot be observed directly, such as thoughts and feelings.
There are some fields, which are included in Psychology; they are developmental, physiological, experimental social and personality psychology. Developmental
psychology studies about human mental and physical growth from the prenatal period through childhood, adolescence, adulthood and old age, physiological psychology
investigate the biological basic of human behavior, thoughts and emotions; experimental psychology studies about basic psychological process, including learning, memory,
sensation, perception, cognition, motivation and emotion. Personality psychology studies
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the differences among individuals in such traits as anxiety, sociability, self – esteem, need for achievement, and aggressiveness, and social psychology studies about how
people influence one another. However, in this analysis and from those fields personality psychology have a
relationship to literature. Psychology personality focuses on the relatively enduring traits and characteristics of individuals. However, literature and psychology are same or have
the same analysis and focus on human behavior. There are several points where the interests of psychologists and literary scholars converge. This convergence is evident in
the use of literature to test psychological theories and to understand human behavior in historical times, in the psychological analyses of literature, and in psychological studies
of authors and readers. Norman Holland finds it “hard to see how a psychology deal with a wok of art
“and observes that in practice psychoanalytic critics do not. Psychology cannot consider works of art in themselves, he argues, because psychology as such is concerned not with
literature but with minds. Any psychological system,” therefore, must deal not with works of art in isolation, but with works of art in relation to man’s mind.
A psychology cannot consider works of art themselves, and he argues, because psychology as such is concerned “not with literature but with minds “p. 293.
Any psychological system, therefore, must deal, not with works of art in isolation, but with works of art in relation man’s mind. Moreover, she believes that there are two kinds
of minds within realistic novels that can be studied in psychological terms: they are the minds of the implied authors and the minds of the leading character. Character study is
not legitimate when, as in most psychological criticism, it talks about literary characters as though they were real people.
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Based on the explanation above, the writer can generally conclude, psychology and had the same equality in exploring person, and both of them can’t be separated one
another, because psychology explores person from the real life, while literature explores fictitious person which is imitated from the real life.
3.2 Personality Theory and Description of Sigmund Freud’s theory 3.2.1 Definition of Personality
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