reversal of fortune. In classical tragedy this is usually a fall from high to low estate, as the hero falls from greatness; or the otherwise Barry, 2009.
b. Theory of Narratology According to Vladimir Propp
There is another theory of narratology that comes from Vladimir Propp. His work is based on a study of his corpus of a hundred Russian folktales, and he
concluded that all these tales are constructed by selecting items from a basic repertoire of thirty-one functions. No tale contains all the items in his list, but all
are constructed by selecting items from it Barry, 2009. The basic 31 functions of
Propp’s narratological theory are these: first, one of the members of a family absents himself from home. Second, an interdiction [that
is, a prohibition] is addressed to the hero. Third, the interdiction is violated. Fourth, the villain makes an attempt at reconnaissance. Fifth, the villain receives
information about his victim. Sixth, the villain attempts to deceive his victim in order to take possession of him or his belongings. Seventh, the victim submits to
deception and thereby unwittingly helps his enemy. Eighth, the villain causes harm or injury to a member of a familyor one member of a family either lacks something
or desires to have something. Ninth, misfortune or lack is made known; the hero is approached with a request or command; he is allowed to go or he is dispatched.
Tenth, the seeker that is, the hero in questor mode agrees to or decides upon counteraction. Eleventh, the hero leaves home. Twelfth, the hero is tested,
interrogated, attacked, etc., which prepares the way for his receiving either a magical agent or helper. Thirteenth, the hero reacts to the actions of the future
donor. Fourteenth, the hero acquires the use of a magical agent. Fifteenth, the hero is transferred, delivered, or led to the whereabouts of an object of search. Sixteenth,
the hero and the villain join in direct combat. Seventeenth, the hero is branded. Eighteenth, the villain is defeated. Nineteenth, the initial misfortune or lack is
liquidated. Twentieth, the hero returns. Twenty-first, the hero is pursued. Twenty- second, rescue of the hero from pursuit. Twenty-third, the hero, unrecognized,
arrives home or in another country. Twenty-fourth, a false hero presents unfounded claims. Twenty-fifth, a difficult task is proposed to the hero. Twenty-sixth, the task
is resolved. Twenty-seventh, the hero is recognized. Twenty-eighth, the false hero or villain is exposed. Twenty-ninth, the hero is given a new appearance. Thirtieth,
the villain is punished. Thirty-first, the hero is married and ascends the throne Barry, 2009.
Those 31 functions are the basic tools to make a narrative. Even though a narrative does not have all the 31 functions, it can be still constructed by selected
or some of those functions. Peter Barry does not mention the minimum require- ments
of Propp’s functions to make a narration, therefore there can be differences of narrative functions of one’s story compared to other narrative. The identification
of a narrative based on those functions make the analysis of one’s story becomes easier.
c. Authorship of the Text
Monika Fludernik argues that there is a new concept in literary research which concentrates to the author who becomes the original constructor of the
ideology in her work: Among literary specialists, there is currently a renewed interest in the
author. Roland Barthes’s contention that the author is dead did not prove particularly useful to British Cultural Studies and the New Historicism.
These approaches foreground the idea of the author as a conduit for ideologically charged discourses rather than as an individual responsible for
herhis text. At the present time, narratologists are also more immediately
concerned with the figure of the author Fludernik, 2009: 13.
The author of a text is not necessarily the person who composed that text. As Harold Love explains in his book on textual criticism, there are different types
of authorship: for example precursory authorship, executive authorship, declarative authorship and revisionary authorship Fludernik, 2009.
The first kind is precursory author, an author that has the authority to influence a text. The second type is executive author who responsible for the
creation of the text, we can say that these writers are the ones who write down the words on the page or composes text. The third type is declarative author, the person
who features as author on the title page, even if that person has had nothing whatsoever to do with producing the text. The last type is revisionary author who
is responsible for amendments to the text and is often the publisher or editor of a work.
