DEFINING A HERO: AN ARCHETYPAL STUDY ON THE CHARACTER OF KARNA IN R. A. KOSASIH’S MAHABHARATA COMIC SERIES (2000 – 2002) Repository - UNAIR REPOSITORY
DEFINING A HERO: AN ARCHETYPAL STUDY ON THE CHARACTER OF KARNA IN R. A. KOSASIH’S MAHABHARATA COMIC SERIES (2000 – 2002) A THESIS
Submitted in Partial Fulfillment of the Requirements for the Bachelor’s Degree of English Department, Faculty of Humanities, Universitas Airlangga
Surabaya
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This thesis is dedicated to all heroes, who never give up in achieving their dreams.
May this work be the reason to keep on believing.
ACKNOWLEDGEMENTS
I cannot believe that I could make it to the end. I am so pleased yet grateful to have this thesis finished by the end of 2015. There were, indeed, so many ups and downs during these last two semesters, and it has been really hard for me to complete this thesis. Therefore, I definitely have to express my deepest gratitude to Allah S.W.T., whom I treasured the most when I was lost and hopeless, when I was pleased and blessed, and when I had no one to share my joy and sorrow. I am so glad to be given such an amazing opportunity to experience this. This is the best achievement in my life.
I would like to share this joy and express my thanks to the ones whom without this thesis would not make its presence: to the best thesis advisor, Titien Diah Soelistyarini, M. Si., who encouraged me to finish this thesis as soon as possible, I have to thank her a lot. Despite her busy schedule, she managed to spare her time for me. Her critical thoughts and suggestions have inspired me in writing this thesis, which I adore so much; to the one who urged me to graduate soon, Dadung Ibnu Muktiono, M. C. S., thank you, Sir!; and to the one who has given me such an inspiring and interesting topic about Mahabharata, Diah Ariani Arimbi, Ph. D., it has been an honor for me to conduct this study. I will always remember your kindness.
May I also express my gratitude towards my family; Papa, Mama, and Adek, who always encourage and support me endlessly. I have never been the best daughter and sister to you, yet I have never thanked you enough, Ma, Pa. You vii are the most influential ones whom without I will not be able to go through this hard time. Thank you for loving and trusting me. You are truly my heroes; I will also need to thank my beloved thesis fighters, Agnes, Sasa, Ye,
Hito, Sandy, Dika Brandon, and—so many of you—I feel proud and glad to meet such amazing people in my last two semesters; to my beloved Amel, Ana M, Intan, Nada, Nesa, Tania, Regina, Diva, and Marina, whom I deeply treasure a lot. Thank you for the bittersweet friendship. Calling you just friends does not seem right. We have shared and created bunch of memories during these three years. It is really my honor to meet you, and I do learn many things from you; especially for Hudlrotur and Diah Ayu Okiyanti, who have been together with me until the very end of this journey. Although we always bicker and argue, your sincere encouragement and support really mean a lot that I cannot thank you more. My special gratitude is also given to Ana Tirtasari. You have inspired me in many ways. Considering you as my rival becomes my motivation to be a better person.
Lastly, but, definitely, I cannot leave Nurri Ulspa behind for she is the one whom I cling onto during my hard time. She witnessed my struggle in writing this thesis, yet kept on encouraging me endlessly. My ‘thank you’ is never enough. Hopefully, I can encourage you more in the future.
My huge gratitude also goes to the colleagues, lecturers, and everyone who are acquainted with me, whom I cannot mention one by one in this limited space. I hope this thesis lead you to find the hero within yourselves. Thank you. viii ix
The real hero is always a hero by mistake; he dreams of being an honest coward like everybody else.
― Umberto Eco, Travels in Hyperreality
TABLE OF CONTENTS
Inside Cover Page .................................................................................................... i Inside Title Page ...................................................................................................... ii Declaration Page .................................................................................................... iii Dedication Page ..................................................................................................... iv Advisor’s Approval Page ......................................................................................... v Examiners’ Approval Page .................................................................................... vi Acknowledgement................................................................................................. vii Epigraph ................................................................................................................. ix Table of Contents ..................................................................................................... x List of Figures ....................................................................................................... xii Abstract ................................................................................................................ xiv
CHAPTER 1: INTRODUCTION
1.1.Background of the Study .................................................................................... 1
1.2.Statement of the Problem ................................................................................... 8
1.3.Objective of the Study ........................................................................................ 9
1.4.Significance of the Study ................................................................................... 9
1.5.Definition of Key Terms .................................................................................. 10
CHAPTER 2: LITERATURE REVIEW
2.1.Theoretical Framework .................................................................................... 12
2.1.1. Archetypal Criticism .................................................................................. 12 x
2.1.2. The Hero..................................................................................................... 14
2.1.3. The Hero’s Journey .................................................................................... 18
2.1.4. Semiotic Theory by Roland Barthes .......................................................... 22
2.2.Review of Related Studies ............................................................................... 25
CHAPTER 3: RESEARCH METHODS
3.1.Research Approach .......................................................................................... 28
3.2.Data Sources..................................................................................................... 29
3.2.1. Population and Sample ............................................................................... 30
3.3.Scope and Limitation ....................................................................................... 31
3.4.Technique of Data Collection .......................................................................... 32
3.5.Technique of Data Analysis ............................................................................. 33
CHAPTER 4: ANALYSIS
4.1.The Hero’s Journey of Karna ........................................................................... 35
4.1.1. The Departure............................................................................................. 36
4.1.2. The Initiation .............................................................................................. 49
4.1.3. The Return .................................................................................................. 74
4.2.Karna as a New Variant of Hero ...................................................................... 75
CHAPTER 5: CONCLUSION ............................................................................ 83 WORKS CITED ................................................................................................... 86 APPENDIX Synopsis ................................................................................................................. 93
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LIST OF FIGURES
Figure 4.1. Karna is drifted away in the river ....................................................... 37Figure 4.2. Karna’s first appearance ..................................................................... 39Figure 4.3. Suyudana asks Karna to defeat Arjuna ............................................... 39Figure 4.4. Karna’s ability .................................................................................... 39Figure 4.5. Arjuna’s ability ................................................................................... 39Figure 4.6. Karna’s battle with Arjuna .................................................................. 43Figure 4.7. The portrayal of dark cloud and sun beam as the representation ofArjuna and Karna .................................................................................................. 43
Figure 4.8. Karna is being carried by Kurawa ...................................................... 46Figure 4.9. Karna becomes a king ......................................................................... 46Figure 4.10. Surya warns Karna to be careful of Indra, the God of lightning ...... 50Figure 4.11. Arjuna’s father and Karna’s father ................................................... 52Figure 4.12. Karna and Kresna are having serious conversation in the chariot .... 54Figure 4.13. Kresna asks Karna to ally with Pandawa .......................................... 55Figure 4.14. Karna refuses to ally with Pandawa .................................................. 55Figure 4.15. Karna and his mother ........................................................................ 57xii
Figure 4.16. Karna refuses to ally with Pandawa .................................................. 57Figure 4.17. Karna gives his dedication to his mother .......................................... 57Figure 4.18. Karna’s promise to his mother .......................................................... 60Figure 4.19. Kunthi thanks Karna for his kindness ............................................... 60Figure 4.20. Karna’s last weapon, Konta .............................................................. 63Figure 4.21. Karna is about to release his Konta .................................................. 63Figure 4.22. Karna loses his patience .................................................................... 64Figure 4.23. Karna releases the weapon to Gatot Kaca ........................................ 64Figure 4.24. Karna is looking for Arjuna .............................................................. 67Figure 4.25. Karna is about to fight against Arjuna .............................................. 67Figure 4.26. The great battle between Karna and Arjuna ..................................... 69Figure 4.27. Karna’s struggle without his Konta .................................................. 69Figure 4.28. Arjuna is about to release his weapon, Pasupati ............................... 70Figure 4.29. Karna is killed by Arjuna .................................................................. 70Figure 4.30. The portrayal of Logangga River after Karna’s death ...................... 72xiii
DEFINING A HERO: AN ARCHETYPAL STUDY ON THE CHARACTER OF KARNA IN R. A. KOSASIH’S MAHABHARATA COMIC SERIES (2000 – 2002) Astried Virdha ArdhiatyHarsono ABSTRACT
Folk epics were used to be the story that passed down over generations through the world of mouth, or as a literature. Nowadays, several numbers of folk epic have been adapted into cultural products, such as comic. Mahabharata is one of numerous folk epics from India, which was adapted into comic by R. A. Kosasih.
Some may have approached works of literature, including folk epic, by using myth criticism, in order to explore the hidden elements contained in the works.
This study defines the archetypal character of Karna in Mahabharata, based on Joseph Campbell’s hero’s journey, and examines the development of Campbell’s hero’s journey. This study was examined by using Roland Barthes’s semiotic as a method to identify the underlying message behind the portrayal of the character of Karna in Mahabharata by applying the idea of Campbell’s the hero’s journey.
There are some attempts in order to create a new perspective about hero through the character of Karna, as a character who is a part of common people, as well as a part of the villains. This study reveals that development of Campbell’s the hero’s journey leads Karna to be a new variant of hero.
Keywords: Archetype, Epic, Hero, Hero’s Journey, Villain
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