THE REPRESENTATION OF THE HOLOCAUST IN JOHN BOYNE’S THE BOY IN THE STRIPED PYJAMAS.

REFERENCES

Anonymous 1. (n.d.). What is Children’s Literature. Available at:

http://www.englishliteraturenotes.com/Childrens_Literature/What_is_Chil drens_Literature.html. Accessed on April 2012.

Anonymous 2. (2004). Historical Fiction. Available at:

http://www.readwritethink.org/files/resources/lesson_images/lesson404/Hi storicalFictionDefn.pdf. Accessed on April 2012.

Anonymous 3. (2011). A History of historical fiction. Available at:

http://ihrconference.wordpress.com/tag/academic-history/. Accessed on May 2012.

Anonymous 4. (n.d.). What is Narrative Structure?. Available at:

http://inpoint.cinematheque.bc.ca/pdf/LanguageofFilm01.pdf. Accessed on April 2012.

Baldonado, M. A. (1996). Representation. Available at:

http://www.english.emory.edu/Bahri/Representation.html. Accessed on April 2012.

Brown, J. (1998). Historical Fiction or Fictionalized History? Problems for Writers of Historical Novels for Young Adults. Available at:

http://scholar.lib.vt.edu/ejournals/ALAN/fall98/brown.html. Accessed on April 2012.

Burroway. (2000). Symbol. Available at:

http://www.cod.edu/people/faculty/fitchf/readlit/symbol1.htm. Accessed on April 2012.

Cole, P. E. (2009). Young Adult Literature in the 21st Century. New York: Mc-Graw-Hill.

Ewers, H. H. (2002). Children's Literature Research in Germany. Children's Literature Association Quarterly Volume 27 , 158-165.

Hall, S. (1997). Representation: Cultural Representations and Cultural Practices. London: SAGE Publications Ltd.

Heller, A. (2011). The Contemporary Historical Novel. Thesis Eleven , 88-97. Hopkins, L., Macleod, M., & Turgeon, W. C. (2010). Negotiating Childhoods.

United Kingdom: Inter-Disciplinary Press.

Hornby, A. S. (2000). Oxford Advanced Learner's Dictionary of Current English. Oxford University Press.

Huck, C. S., Hepler, S., & Hickman, J. (2004). Children's Literature in the Elementary School fifth edition. Orlando: Harcourt Brace & Company. Kokkola, L. (2003). Representing the Holocaust in Children's Literature. New

York: Routledge.

Nodelman, P. (2008). The Hidden Adult - Defining Children's Literature. Baltimore: The Johns Hopkins University Press.

Nodelman, P. (1996). The Pleasures of Children's Literature, 2nd ed. New York: Longman.

Peacock, M. S., & Roth, P. A. (2004). Holocaust studies: what is to be learned? HISTORY OF THE HUMAN SCIENCE , 1-13.

Pleasants, N. (2004). The concept of learning from the study of the Holocaust. HISTORY OF HUMAN SCIENCES , 187-210.

Punday, D. (2000). Corporeal Narrative. Available at:

http://findarticles.com/p/articles/mi_m2342/is_2_34/ai_68279073/pg_3/?t ag=content;col1. Accessed on April 2012.

Roberts, S. K., & Crawford, P. A. (2008). Literature to Help Children Cope with Family Stressors. Real Life Calls for Real Books , 1-8.

Roseman, M. (2001). Recent Writing on the Holocaust. Journal of Contemporary History , 361-372.

Smith, J. S. (1967). A Critical Approach to Choldren's Literature. United State of America: McGraw-Hill.

Sutopo, HB. (2006). Metode Penelitian Kualitatif, Surakarta: UNS Press

Tal, E. (2004). Representing Death and Suffering in Children's Literature about the Holocaust. How Muh Should We Tell the Children? , 1-9.

Tucker. N. (n.d.). Happy Endings in Children’s Literature. Available at:

http://www.unicaen.fr/recherche/mrsh/files/tuckerAbs.pdf. Accessed on May 2012.

Wisniewski, D. (1996). Evaluating and Selecting Literature For Children. Clarion books/Houghton Mifflin Company.

Young. J. O. (1999). Representation in Literature. Available at:

http://ojs-prod.library.usyd.edu.au/index.php/LA/article/view/5218. Accessed on May 2012.

CHAPTER I

INTRODUCTION

This chapter consists of background, statement of problem, aim of the study, research method, clarification of terms, and organization of paper.

1.1. Background

There are many ways to define what literature exactly is, but ideas about the definition have changed through time and history. Varieties of definitions come up from one culture to culture, from critic to critic, and from one reader to one another. One defined literature as the imaginative shaping of life and thought into the forms and structures of language (Huck et.al, 2004).

The study of children’s literature may emphasize on the matter of subject, rather than what the books are about. It can be about birds and animals, fairies,

trucks or planes, children’s experiences of neighbourhood, machinery, history,

geography, holidays, technology, and mostly about exploration (Smith, 1967). The assumption that commonly emerge in understanding the children’s literature is not describing it in a full elaboration of it, rather in terms of the traditional types

of the children’s literature itself, such as folktales, myths, fables, modern

imitations of folktales, Mother Goose verses, reading primers, poetry, folk song,

fictions, natural-history and science books, animal stories, adventure stories, sport fiction, domestic fiction, and adolescent books (Smith, 1967).

It might be said that a child’s book is the book that is intended for children

and adult’s bookis the book that is intended for adult, and that’s what supposed to

be. Before the nineteenth century there were only several books which were written for children and children read the book written for adult readers, they took everything they could understand from them. Today, children continue reading adult books and they relate to adult themes such as World War and genocide. But the theme is conveyed by softer and easier language to children reader in the story because it would be complicated to them if they adopt theme and the use of language for adult reader which is obviously more complex (Huck et.al, 2004).

Historical fiction is one of several genres in the field of children’s literature. The genre of historical fiction in the field of children’s literature includes stories that are written to portray a time period or convey information about a specific time period or an historical event. Usually the event or time period is about 30 years in the past. Nowadays, historical fiction is not quite popular if it was compared to generations ago. Children commonly prefer to fantasy or realistic fiction, the stories which contain modern-day characters and settings. But, historical fictions are more available today if it is compared to 1980s (Huck et.al, 2004).

According to Huck (2004), in historical fiction, the setting is the most important literary elements. Because the author writes about a particular time in

history, the information about the time period must be accurate, authentic, or both. To create accurate and authentic settings in their books, authors must research the time period thoroughly. The author writes a fictional story based on the actual events and people of the past is the most obvious type of historical fiction. For instance, in Johnny Tremain by Esther Forbes, Johnny Tremain’s personal story and his developed character from embittered boy to a brave and idealistic man are cannot be separated from the connection with the political history and way of life of his place and time. In other stories of the past, fictional lives are lived with little to recorded historical event or even real persons (Huck et.al, 2004). However, pertain to the social history the writer has to know the background of how the characters live and what they eat, wear, study, or play, and what conflicts they must resolve. Significant event in contemporary story may be durable until it gains its historical significance (“Historical Fiction” 2004).

Much of the history of the twentieth century is about the story of at war and many books for young people chronicle its horrors of war imagery. Within those stories, the enemy for the children reader is located in the war theme itself. Most of the stories depict people’s inhumanity to each other or between the oppressor and the oppressed one, and they also show many individual acts of humanity and extreme courage (Huck et.al, 2004).

A novel entitled The Boy In The Striped Pyjamas written by John Boyne is a historical fiction. The novel has been chosen as the object of the study because it tells about the same age and birthday boys’ friendship that lived in World War II and disastrous consequences of a friendship across a divide -

separated by camp’s fence and cramped by their labels, Nazi and Jewish -. The writer is interested in story because it tells about genocide in World War II. Where the Jews from Poland are brought to Germany and they have to live in camps in the middle of nowhere –as it is told in the story- together wearing the same striped caps and pyjamas. Their existence are devastated as they’re considered as not human but obviously its depiction is depicted by softer language because the novel is intended for children’s readers.

1.2. Statement of Problem

This research focuses on the telling of the events of the Holocaust in John

Boyne’s The Boy In The Striped Pyjamas.

Following with the statement above, the problem will be formulated in Question:

 In what way(s) does the story tell the events of the Holocaust for children readers?

1.3. Aims of Study

Based on the problem of the research, the writer attempts to identify the telling of the events of the Holocaust in the novel The Boy in the Striped Pyjamas written by John Boyne.

 Identify in what ways the story tells the events of the Holocaust in World War II for children readers.

1.4. Research Method

Research method explains the data collection and data analysis.

1.4.1 Research Design

This research employs qualitative method in the form of descriptive analysis of the textual evidences. According to Sutopo (2006), qualitative method is a method that uses data in words, sentences or pictures that have more meanings and comprehensions rather than number or frequency. The textual evidences and context are presented in written form to describe the situation which is told in the story.

1.4.2 Data collection

Data were collected from a novel by John Boyne entitled The Boy in the Striped Pyjamas. The data are collected by reading the novel politically, then selecting words or sentences which serve as the textual evidences in the way of answering research question.

1.4.3 Data Analysis

In conducting the research, these following steps have been undertaken:

 Reading and re-reading the novel closely to get further understanding of issue in the story, especially the issue about the events of the Holocaust in the story.  Finding textual evidences from the novel which are related to the event of the

Holocaust.

 Finding and reading other sources related to the research to form the theoretical framework.

 Using the framework proposed by Eva Tal (2004) in the ways to protect young readers from the full horror of the Holocaust, they are: Finding an appropriate representation of death and suffering, designing happy endings, telling the story from a child’s point of view, and using symbolism and figurative language to portray death.

 After collecting the data, the writer attempts to analyze the events of the Holocaust based on theoretical framework. One of ways that the writer is going to conduct is analyzing symbolism as data interpreting method, because the writer believes that there are many symbols used by the author in the way he introduces the history of World War II especially the Holocaust for children readers.

 Finally, drawing conclusions and giving suggestions for the next study in literary works.

1.5. Clarification of Terms

 Children’s literature : is literature designed specifically for children.

There are different age groups and reading levels that they are categorized in and the subject matter pertains to children and the things they like

(“What is Children’s Literature” n.d.)

 Representation : “There are three necessary conditions of something's being a representation. For a start, if something is a representation of some object, it must stand for the object. Second. If something is a representation. It must be intentionally used as a representation. This may be called the intentionality condition. Finally, there is the recognition condition: nothing is a representation of an object unless it can be recognised as standing for the object by someone other than the person (or persons) who intends that it be a representation of the

object” (Young, 128).

 Historical fiction : “is a window to the past through which we can view people and events that have shaped our lives and the world, universal truths are discovered and we empathize with those from the past. Therefore, historical fiction lets the reader make emotional connections between the past and the present by helping to understand and value our own heritage and the present world around us” (Cole, 2009).



Symbol : “A symbol differs from metaphor and simile in that it need not contain a comparison. A symbol is an object or event that, by

virtue of association, represents something more or something other than itself” (Burroway, 273).

1.6. Organization of Paper

This paper is organized into five chapters. Chapter I discusses introduction which consist of six issues which are background, statement of problem, aims of study, research method, clarification of terms, and organization of paper. Chapter II reviews theoretical framework pertain to the present study. Chapter III includes research methodology that consist of formulation of the problems, aims of the study, data collection, and data analyses. Chapter IV presents analysis, findings, and discussion from the present study. Chapter V reviews the conclusions of the study and suggestions for further study.

CHAPTER III

RESEARCH METHODOLOGY

This chapter discusses the methodology of the research which covers the research question, research method, stages of the research, data source, data collection, and data analysis.

3.1. Research Question

The research is conducted to answer following question:

1. In what way(s) does the story tell the events of the Holocaust for children readers?

3.2. Research Method

This research is a textual analysis of John Boyne’s novel entitled The Boy in the Striped Pyjamas. It employs qualitative method in the form of descriptive analysis of the textual evidences. Sutopo (2006) points out that qualitative method is a method that uses data in words, sentences, or picture which have more meanings and comprehensions rather than number or frequency. The textual evidences and context are presented in written form to describe the situation which is told in the story. The research investigates the ways in which the story

tells the events of the Holocaust for children’s readers. The research employs the framework to examine holocaust children’s literature as proposed by Eva Tal (2004).

3.3. Research Procedures

In conducting the research, the following steps have been undertaken:

1. Formulating research question and deciding object of the research.

2. Reading and re-reading the novel closely to get a solid comprehension of issue in the story.

3. Finding textual evidences in the form of words, phrases, and sentences. 4. Categorizing textual evidences as proposed by Eva Tal (2004) by: Finding

an appropriate representation of death and suffering, designing happy

endings, telling the story from a child’s point of view, and using

symbolism and figurative language to portray death.

5. Analyzing and interpreting the collected data using Eva Tal’s (2004) framework to answer the research question, and analyzing symbolisms as data interpreting method.

3.4. Data Source

The data of the research are collected from John Boyne’s novel entitled

The Boy in the Striped Pyjamas. The novel tells about the same-age-boys’ friendship who lived in World War II and disastrous consequences of a friendship across a divide –separated by the fence and cramped by their labels, Nazi and Jewish.

The novel has been chosen as the data source because it contains the issue of the Holocaust and,-Jewish genocide in World War II, which interestingly is intended for children readers.

3.5. Data Collection and Data Analysis

The textual evidences of this research are in form of words or symbolisms, sentences, and utterances of the characters who involved in the story which contain the ways the story tells the events of the Holocaust for children readers proposed by Eva Tal (2004) which have been elaborated in the previous chapter.

The collected data are presented in a table below, for instance:

Table 1 Narrative Structure

1.

2.

‘You don’t mean we’re leaving Berlin?’.(p. 8)

‘You’ll have to say goodbye to your friends for the time being,’ said

mother.(p. 8)

Bruno asks his mother when he sees Maria packing his stuffs after coming back from school with his three best friends.

Mother says to Bruno that they will move to other places, so he has to say goodbye to his three best friends and he can make new friendship in the new place then.

Table 2 Happy Endings

No Textual Evidence Context

1. …getting his striped pyjamas

completely covered in mud as he did so. He laughed when he looked down at himself. He had never been so filthy in all his life and it felt wonderful.

Shmuel smiled too…(p. 107)

When Bruno and Shmuel are in the same side fence for the first time and they are very happy.

Table 3

Child’s Point of View

No Textual Evidence Context

1. ‘No one’s ever given me an armband,’

said Bruno. ‘But I never asked to wear one,’ said Shmuel. ‘All the same,’ said Bruno, ‘I think I’d quite like one. I don’t know which one I’d prefer

Bruno’s response when Shmuel

tells about his life in Poland before he and the people were forced to move by soldiers to Germany.

though, your one or Father’s.’(p. 68)

Table 4 Portraying Death

No Textual Evidence Context

1. ‘Well?’ asked Bruno. ‘What was it?’

‘Papa,’ said Shmuel. ‘We can’t find him.’ ‘Can’t find him? That’s very odd. You mean he’s lost?’ ‘I suppose so,’ said Shmuel. ‘He was here on

Monday and then he went on work duty with some other men and none of them have come back.’(p. 101)

One day, when Bruno and Shmuel meet as usual, Shmuel looks so

gloomy because Shmuel’s father

is lost and he cannot find him.

The data that have been categorized are going to be analyzed by using a framework proposed by Eva Tal (2004). To do this, the writer examines the ways in which the story tells the events of the Holocaust for children readers. Furthermore, the writer analyzes the symbolisms which are presented in the narrative, since the writer believes that the author of novel uses symbolisms within the text.

TABLE OF CONTENTS

PREFACE ... i

ACKNOWLEDGEMENT ... ii

ABSTRACT ... iii

TABLE OF CONTENTS ... iv

LIST OF TABLES ... v

CHAPTER 1: INTRODUCTION 1.1. Background ... 1

1.2. Statement of Problem ... 4

1.3. Aims of Study ... 4

1.4. Research Method ... 5

1.4.1. Research Design ... 5

1.4.2. Data Collection ... 5

1.4.3. Data Analysis ... 6

1.5. Clarification of Terms ... 7

1.6. Organization of Paper ... 8

CHAPTER 2: THEORETICAL FOUNDATION 2.1. Representation ... 9

2.2. Children’s Literature ... 11

2.3. Historical Fiction ... 13

2.3.1. Patterns in Children’s Historical Fiction ... 14

2.3.1.1. Finding an Appropriate Representation of Death and Suffering ... 15

2.3.1.2. Designing Happy Endings ... 17

2.3.1.4. Using Symbolism and Figurative Language to Portray

Death ... 21

2.3.2. Values of Historical Fiction ... 23

2.3.3. Criteria for Historical Fiction ... 23

2.4. History of the Holocaust ... 24

2.5. Synopsis of The Boy in the Striped Pyjamas ... 25

CHAPTER 3: RESEARCH METHODOLOGY 3.1. Research Question ... 27

3.2. Research Method ... 27

3.3. Research Procedures ... 28

3.4. Data Source ... 29

3.5. Data Collection and Data Analysis ... 29

CHAPTER 4: DATA PRESENTATION AND DISCUSSION 4.1. Eva Tal’s Framework on the Holocaust Fiction for Children ... 32

4.1.1. Finding an Appropriate Representation of Death and Suffering 33

4.1.2. Designing Happy Endings ... 39

4.1.3. Telling the Story from A Child’s Point of View ... 43

4.1.4. Using Symbolism and Figurative Language to Portray Death 47

CHAPTER 5: CONCLUSION AND SUGGESTION 5.1. Conclusion ... 55

LIST OF TABLES

Table 1: Narrative Structure ... 29

Table 2: Happy Endings ... 30

Table 3: Child’s Point of View ... 30

Table 4: Portraying Death ... 31

Table 5: Narrative Structure ... 33

Table 6: Narrative Structure ... 36

Table 7: Happy Endings ... 40

Table 8: Child’s Point of View ... 44

Table 9: Symbolism ... 48

Table 10: Figurative Language ... 50

29

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3.4. Data Source

The data of the research are collected from John Boyne’s novel entitled

The Boy in the Striped Pyjamas. The novel tells about the same-age-boys’ friendship who lived in World War II and disastrous consequences of a friendship across a divide –separated by the fence and cramped by their labels, Nazi and Jewish.

The novel has been chosen as the data source because it contains the issue of the Holocaust and,-Jewish genocide in World War II, which interestingly is intended for children readers.

3.5. Data Collection and Data Analysis

The textual evidences of this research are in form of words or symbolisms, sentences, and utterances of the characters who involved in the story which contain the ways the story tells the events of the Holocaust for children readers proposed by Eva Tal (2004) which have been elaborated in the previous chapter.

The collected data are presented in a table below, for instance:

Table 1 Narrative Structure

30

Heru Setiawan, 2012

1.

2.

‘You don’t mean we’re leaving Berlin?’.(p. 8)

‘You’ll have to say goodbye to your friends for the time being,’ said

mother.(p. 8)

Bruno asks his mother when he sees Maria packing his stuffs after coming back from school with his three best friends.

Mother says to Bruno that they will move to other places, so he has to say goodbye to his three best friends and he can make new friendship in the new place then.

Table 2 Happy Endings

No Textual Evidence Context

1. …getting his striped pyjamas completely covered in mud as he did so. He laughed when he looked down at himself. He had never been so filthy in all his life and it felt wonderful.

Shmuel smiled too…(p. 107)

When Bruno and Shmuel are in the same side fence for the first time and they are very happy.

Table 3

Child’s Point of View

No Textual Evidence Context

1. ‘No one’s ever given me an armband,’

said Bruno. ‘But I never asked to wear one,’ said Shmuel. ‘All the same,’ said Bruno, ‘I think I’d quite like one. I don’t know which one I’d prefer

Bruno’s response when Shmuel

tells about his life in Poland before he and the people were forced to move by soldiers to Germany.

31

Heru Setiawan, 2012

though, your one or Father’s.’(p. 68)

Table 4 Portraying Death

No Textual Evidence Context

1. ‘Well?’ asked Bruno. ‘What was it?’

‘Papa,’ said Shmuel. ‘We can’t find him.’ ‘Can’t find him? That’s very odd. You mean he’s lost?’ ‘I suppose

so,’ said Shmuel. ‘He was here on

Monday and then he went on work duty with some other men and none of them have come back.’(p. 101)

One day, when Bruno and Shmuel meet as usual, Shmuel looks so

gloomy because Shmuel’s father

is lost and he cannot find him.

The data that have been categorized are going to be analyzed by using a framework proposed by Eva Tal (2004). To do this, the writer examines the ways in which the story tells the events of the Holocaust for children readers. Furthermore, the writer analyzes the symbolisms which are presented in the narrative, since the writer believes that the author of novel uses symbolisms within the text.

v

Heru Setiawan, 2012

TABLE OF CONTENTS

PREFACE ... i

ACKNOWLEDGEMENT ... ii

ABSTRACT ... iii

TABLE OF CONTENTS ... iv

LIST OF TABLES ... v

CHAPTER 1: INTRODUCTION 1.1. Background ... 1

1.2. Statement of Problem ... 4

1.3. Aims of Study ... 4

1.4. Research Method ... 5

1.4.1. Research Design ... 5

1.4.2. Data Collection ... 5

1.4.3. Data Analysis ... 6

1.5. Clarification of Terms ... 7

1.6. Organization of Paper ... 8

CHAPTER 2: THEORETICAL FOUNDATION 2.1. Representation ... 9

2.2. Children’s Literature ... 11

2.3. Historical Fiction ... 13

2.3.1. Patterns in Children’s Historical Fiction ... 14

2.3.1.1. Finding an Appropriate Representation of Death and Suffering ... 15

2.3.1.2. Designing Happy Endings ... 17

v

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2.3.1.4. Using Symbolism and Figurative Language to Portray

Death ... 21

2.3.2. Values of Historical Fiction ... 23

2.3.3. Criteria for Historical Fiction ... 23

2.4. History of the Holocaust ... 24

2.5. Synopsis of The Boy in the Striped Pyjamas ... 25

CHAPTER 3: RESEARCH METHODOLOGY 3.1. Research Question ... 27

3.2. Research Method ... 27

3.3. Research Procedures ... 28

3.4. Data Source ... 29

3.5. Data Collection and Data Analysis ... 29

CHAPTER 4: DATA PRESENTATION AND DISCUSSION 4.1. Eva Tal’s Framework on the Holocaust Fiction for Children ... 32

4.1.1. Finding an Appropriate Representation of Death and Suffering 33

4.1.2. Designing Happy Endings ... 39

4.1.3. Telling the Story from A Child’s Point of View ... 43

4.1.4. Using Symbolism and Figurative Language to Portray Death 47

CHAPTER 5: CONCLUSION AND SUGGESTION 5.1. Conclusion ... 55

v

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LIST OF TABLES

Table 1: Narrative Structure ... 29

Table 2: Happy Endings ... 30

Table 3: Child’s Point of View ... 30

Table 4: Portraying Death ... 31

Table 5: Narrative Structure ... 33

Table 6: Narrative Structure ... 36

Table 7: Happy Endings ... 40

Table 8: Child’s Point of View ... 44

Table 9: Symbolism ... 48

Table 10: Figurative Language ... 50