KEMENTERIAN RISET TEKNOLOGI DAN PENDIDIK (10)
KEMENTERIAN RISET, TEKNOLOGI DAN PENDIDIKAN TINGGI
UNIVERSITAS NEGERI SEMARANG (UNNES)
Kantor: Komplek Simpang 5 Unnes Kampus Sekaran, Gunungpati, Semarang 50229
Rektor: (024)8508081 Fax (024)8508082, Purek I: (024) 8508001
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BAHAN AJAR
INTODUCTION TO LITERARY STUDIES
15P00939
2 SKS
PROGRAM STUDI SASTRA INGGRIS
FAKULTAS BAHASA DAN SENI
UNIVERSITAS NEGERI SEMARANG
2017
Tanggal Terbit
27 Februari 2017
KEMENTERIAN RISET, TEKNOLOGI DAN PENDIDIKAN TINGGI
UNIVERSITAS NEGERI SEMARANG (UNNES)
Kantor: Komplek Simpang 5 Unnes Kampus Sekaran, Gunungpati, Semarang 50229
Rektor: (024)8508081 Fax (024)8508082, Purek I: (024) 8508001
Website: www.unnes.ac.id - E-mail: unnes@unnes.ac.id
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VERIFIKASI BAHAN AJAR
Pada hari ini Senin tanggal 10 bulan Februari tahun 2017 Bahan Ajar Mata
Kuliah Introduction to Literay Studies Program Studi Sastra Inggris Fakultas
Bahasa dan Seni telah diverifikasi oleh Ketua Jurusan/ Ketua Program Studi
Sastra Inggris
Semarang, 10 Februari 2017
Ketua Jurusan/ Ketua Prodi
Tim Penulis
Dr. Rudi Hartono, S.S., M.Pd.
NIP 19690907 200212 1 001
Fatma Hetami, S.S., M.Hum.
NIP 19770827 200812 2 002
KEMENTERIAN RISET, TEKNOLOGI DAN PENDIDIKAN TINGGI
UNIVERSITAS NEGERI SEMARANG (UNNES)
Kantor: Komplek Simpang 5 Unnes Kampus Sekaran, Gunungpati, Semarang 50229
Rektor: (024)8508081 Fax (024)8508082, Purek I: (024) 8508001
Website: www.unnes.ac.id - E-mail: unnes@unnes.ac.id
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PRAKATA
Bahan ajar ini disusun untuk memberikan gambaran yang berkaitan dengan
dasar-dasar pengetahuan dan pemahaman mengenai pengenalan terhadap
definisi, kulaitas dan macam-macam karya sastra. Diharapkan dengan bahan
ajar ini dapat memberikan bekal dasar mengenai pentingnya pengenalan
terhadap apa itu sastra. Selain itu diharapkan bahan ajar ini dapat membentuk
critical thinking mahasiswa baik dalam bentuk tertulis maupun lisan.
Bahan ajar ini tersusun dari 4 bab, yang masing-masing akan membahas topik
yang berbeda namun tetap saling berhubungan. Dimulai dengan bahasan
mengenai definisi literature, literature around us, some qualities in literature, dan
genre of literature. Bahan ajar ini juga bukan sebagai satu-satunya sumber dalam
proses pembelajaran, sehingga bahan lain terutama yang berkaitan dengan
jurnal
penelitian
akan
ditambahkan
untuk
memperkaya
konteks
kajian
Introduction to Literary Studies.
Selanjutnya, masukan dan tanggapan terhadap bahan ajar ini akan sangat
membantu untuk mengembangkan dan menyempurnakan isi dalam bahan ajar
ini. Semoga bahan ajar ini dapat berguna bagi dosen maupun mahasiswa yang
mempelajari matakuliah Introduction to Literary Studies.
Selamat Membaca!
Tim Penulis
KEMENTERIAN RISET, TEKNOLOGI DAN PENDIDIKAN TINGGI
UNIVERSITAS NEGERI SEMARANG (UNNES)
Kantor: Komplek Simpang 5 Unnes Kampus Sekaran, Gunungpati, Semarang 50229
Rektor: (024)8508081 Fax (024)8508082, Purek I: (024) 8508001
Website: www.unnes.ac.id - E-mail: unnes@unnes.ac.id
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KEMENTERIAN RISET, TEKNOLOGI DAN PENDIDIKAN TINGGI
UNIVERSITAS NEGERI SEMARANG (UNNES)
Kantor: Komplek Simpang 5 Unnes Kampus Sekaran, Gunungpati, Semarang 50229
Rektor: (024)8508081 Fax (024)8508082, Purek I: (024) 8508001
Website: www.unnes.ac.id - E-mail: unnes@unnes.ac.id
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DAFTAR ISI
Prakata
Daftar Isi
Bab I What is Literature?
Deskripsi Singkat
Capaian pembelajaran pertemuan
Pertanyaan
Bab II Literature Around Us
Deskripsi Singkat
Capaian pembelajaran pertemuan
pertanyaan
Bab III Some Qualities in Literature
Deskripsi Singkat
Capaian pembelajaran pertemuan
pertanyaan
Bab IV Genre of Literature
Deskripsi Singkat
Capaian pembelajaran pertemuan
pertanyaan
Daftar Pustaka
i
ii
1
1
1
14
15
15
15
94
KEMENTERIAN RISET, TEKNOLOGI DAN PENDIDIKAN TINGGI
UNIVERSITAS NEGERI SEMARANG (UNNES)
Kantor: Komplek Simpang 5 Unnes Kampus Sekaran, Gunungpati, Semarang 50229
Rektor: (024)8508081 Fax (024)8508082, Purek I: (024) 8508001
Website: www.unnes.ac.id - E-mail: unnes@unnes.ac.id
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CHAPTER I
WHAT IS LITERATURE?
Deskripsi Singkat
This course is designed to present the knowledge about the concept
of literature, various genres of literary works and their definitions, knowing
the intrinsic elements of each genre and some qualities of literature, and
being able to make personal response not only orally but also written by
implementing values of humility and repect
Capaian Pembelajaran Pertemuan (Sub-CPMK)
The students are expected to be able to explain the concept of
literatureand able to define the concept of literature in broad and narrow
sense.
People ask what literature is very often, but they get unsatisfactory answers. In
most books it is said that literature comes from Latin word Litterature, which is
etymologically derived from the word littera (letter).
According to Rees, literature can be defined into two definitions. They are
literature in narrow sense and literature in broad sense. The former means
anything that is written: time tables, catalogues, textbooks, travel brochures, and
so on.
However, literature, as a major at college, has a different and perhaps more
serious se se. To get
ore u dersta di g a out the defi itio s a o e let’s take a
look on the comparison of two pieces of writing;
Text 1
KEMENTERIAN RISET, TEKNOLOGI DAN PENDIDIKAN TINGGI
UNIVERSITAS NEGERI SEMARANG (UNNES)
Kantor: Komplek Simpang 5 Unnes Kampus Sekaran, Gunungpati, Semarang 50229
Rektor: (024)8508081 Fax (024)8508082, Purek I: (024) 8508001
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London : Capital city of England and a port on the river Thames. It includes
twenty – eight metropolitan boroughs. It is a cultural and industrial center, and
an important center of international trade and finance. It has a university and
many buildings of historic importance, including, the House of Parliament,
West i ster A ey, St. Paul’s Cathedral, a d the To er of Lo do . The
population of Greater London in 1961 was eight million one hundred and seventy
– one thousand, nine hundred and two.
Text 2
Earth has nothing to show more fair
Dull would he be of soul who could pass by
A sight so touching in his majesty
This city now doth, like a garment wear
The beauty of the morning, silent bare
Ships, towers, domes, theatres, and temples lie
Open unto the fields, and unto the sky
All bright and glittering in the smokeless air
Never did the sun more beautifully steep
In the first splendour, valley, rock or hill
Ne’er sa I, e er felt, a al so deep
The river glideth at his own sweet will
Dear God! The very houses seem asleep
And all that mighty heart is lying still!
What is described in text 1? What is described in text 2? How do you feel
reading text 1? How do you feel reading text 2? What is the writer of text 1 trying
to share? What is the writer of text 2 trying to share? Does the writer of text 1
state what he means clearly? Does the writer of text 2 state what he means
clearly? In what kind of publishing is text 1 usually found? What about text 2?
Comparing the two texts above, we will find out different purposes of
writing. The writer of the first text only wants to tell us as many facts (about
London) as possible in a limited space. He does not want to tell us about his
feelings or make us feel the particular emotion about London. What about the
KEMENTERIAN RISET, TEKNOLOGI DAN PENDIDIKAN TINGGI
UNIVERSITAS NEGERI SEMARANG (UNNES)
Kantor: Komplek Simpang 5 Unnes Kampus Sekaran, Gunungpati, Semarang 50229
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second writer? Does he want to share any information with the readers? Are
there other things he wants to extend?
We catch, in the second text, information about a city, a feeling of
admiration about the situation the city creates, and emotion of splurging in the
beauty of the city. Besides, the writing implies human thankfulness to His creator
for the invaluable gift in the form of the nature. In short, it shares information,
e otio , feeli gs, a d respo ses upo the gift fro
God. This leads to Rees’s
second definition of literature that is anything that is written which expresses
ideas, emotion, feelings, and attitude toward life.
Some other literary critics choose to define literature as an art. This
definition results in a shift in the area of literature into covering works of the
imagination or creative writing. It is also a challenging contribution to think that,
as they were written skillfully which show the traces of creativity, and as they
were addressing more than just individuals thus appealing the writer’s
imagination of the future and concern about life, monumental documents such
as in Indonesia, Habis Gelap Terbitlah Teran, the olle tio
of R.A. Karti i’s
personal letters to J.A. Abendanon in the Netherlands, can be regarded as
literary works.
Literary study is then defined as the study on creative works of the
imagination which have concern about life and use language as the media.
Exercises
1. E aluate
hether the follo i g te ts elo g o l to Ree’s definition or to
both the first and second definition?
2. Which text has imaginative and creative aspect? How do you justify your
answer?
a. My dear loving wife
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I realize that you ea a lot to e. You’ e gi e
e support to gai a
su ess. Please stay a d do ’t ever leave me. Pray we can have better
ti es i the future. I k o I’ e ade istakes to you, ut they just tur
up to show that I am nothing without you.
b. WOMAN
(John Lennon)
Wo a I a ’t hardl e press
My mix emotions and thoughtlessness
After all I’m forever in your debt
And woman I will try to express
My inner feelings and thankfulness
For showing the meaning of success
Woman I know you understand
The little child inside the man
Please, remember my life is in your hands
And woman hold me close to your heart
Ho e er dista t do ’t keep us apart
After all it is written in the stars
Woman, please let me explain
I never meant to cause you sorrow or pain,
So let me tell you again and again and again
I love you now and forever
3. In groups, find some other te ts, deter i e
hether the
elo g to Rees’s
definition of literature in the broad sense or narrow sense, and identify the
imaginative and creative aspect the text might have. Remember, texts
include spoken, written, visual and audio texts.
KEMENTERIAN RISET, TEKNOLOGI DAN PENDIDIKAN TINGGI
UNIVERSITAS NEGERI SEMARANG (UNNES)
Kantor: Komplek Simpang 5 Unnes Kampus Sekaran, Gunungpati, Semarang 50229
Rektor: (024)8508081 Fax (024)8508082, Purek I: (024) 8508001
Website: www.unnes.ac.id - E-mail: unnes@unnes.ac.id
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CHAPTER II
LITERATURE AROUND US
Deskripsi Singkat
This course is designed to present the knowledge about the concept of
literature, various genres of literary works and their definitions, knowing
the intrinsic elements of each genre and some qualities of literature, and
being able to make personal response not only orally but also written by
implementing values of humility and repect
Capaian Pembelajaran Pertemuan (Sub-CPMK)
Ability to define and appreciate some children literature (English) like
nursery rhymes, bedtime stories, gags, riddles, etc
Many students of language are worried about being engaged in literature. They
think literature requires a particular talent that not everyone can get through it
successfully. As a matter of fact, some people are gifted to understand or
produce a literary work more than the others. However, naturally, almost
everyone in the world has some experience with literature.
During the life journey from childhood to adulthood, people are exposed
to literature. This can be seen in the existence of nursery rhymes in almost all
nations. At other times, children are acquainted with bedtime stories and fairy
tales. In any society, people are familiar with folktales and legends. Besides, they
find stories about their ancestors in religious books.
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The knowledge about childre ’s traditio pla s a er i porta t role i
u dersta di g other
orks. “o e serious
orks so eti es allude to ertai
popular rhymes.
The gla e at hildre ’s traditio i this hapter
ill reate a i sight to
studying literature. The nursery rhymes, fables, bedtime stories, riddles, gags,
etc, discusses hopefully will involve students playing, thinking and creating
activities.
Exercises
1. Read the rhymes below aloud, study the ideas, and find out what children
can learn from them by filling out the grid provided.
The nursery rhymes are Ding Dong Bell, Baa Baa Black Sheep, Humpty
Dumpty, A Baby, Hickory, Dickory, Dock, One Two, Jack and Jill, Are You
Sleeping?, Two Little Hands To Clap, Clap, Clap, Twinkle Twinkle Little Star,
Hop a Little, Old MacDonald, and Mary Had A Little Lamb.
No
1
2
3
4
5
6
7
8
9
10
11
Title
Topic
Lesson for Children
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12
13
2. Group work
Find some stories or nursery rhymes in your surroundings and discuss the
moral values. Report the result in the following form:
Other
No
Title
Theme
Moral Values
Remarks
3. Discussion
a. Find some stories from different regions, islands, or countries.
b. Do they share some characteristics?
c. If they are completely different, what makes the differences?
d. If they have similarities, what make them similar?
e. In your opinion why are they similar?
KEMENTERIAN RISET, TEKNOLOGI DAN PENDIDIKAN TINGGI
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CHAPTER III
SOME QUALITIES OF LITERATURE
Deskripsi Singkat
This course is designed to present the knowledge about the concept of
literature, various genres of literary works and their definitions, knowing
the intrinsic elements of each genre and some qualities of literature, and
being able to make personal response not only orally but also written by
implementing values of humility and repect
Capaian Pembelajaran Pertemuan (Sub-CPMK)
-
Defining some qualities in literature
-
Analyzing qualities of some literary works .
The discussion around whether a work is good or bad, liked or disliked, should be
switched into under what genres and movement is a work created. A
complicated plot can be too hard for children, and socio-political nuances might
ot ater for tee ager’s delight. Ho e er, readers of a he ge re
a
eed to
explain why they like the books in terms of appreciation. So, there should be
some devices to evaluate the quality of literary works to help them express how
they feel about the books. The followings are the criteria of good literature
proposed by Rees;
a. Psychological truth
It is the quality of reflecting thoughts or feelings recognized as being true
to life. Rees explains that the work reveals human feelings and thoughts
that most human beings have had experienced.
b. Originality
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A work is original when it shows its own way of presenting. It shows the
individual style of an author which does not belong to another. Originality
does not concern about themes because certain authors might use
classical or traditional themes. With the specific way of presenting and
certain style of composition, though, the work will be original.
c. Craftsmanship
Literary work is good when the author has creativity and skills in revealing
his ideas, feelings, and emotions. Some works show craftsmanship when
they employ selected words or words which are not ordinarily used. For
example: a chariot sounds better than a cart; freight is more esthetic than
a boat or a ship; in slumber is more elegant than in bed or just asleep.
Skillful authors develop charms in forms and content which are typically
their ways. They provide surprises and creativity in presenting the forms
and content of their works, which by the end of the reading, touch the
readers’ a are ess a d o er to ard life.
Some prominent authors prove that the strength of a work does not
always lie in forms such as diction, sentence construction, rhymes, etc.
d. consciousness of moral values
It means literature should contain a message about the pervasive
conflicts between good and evil. A good work is expected to continuously
remind people that good and evil are real and that we cannot be neutral
toward them.
e. Permanence
It means a work is always expected to be read by people from any
generation.
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Serious Literature versus Escape Literature
Some works are regarded as serious as they offer, besides entertainment,
awareness about some philosophical, social, or psychological, or other concepts
in life. The conflicts make the readers think about life. Escape literature, on the
other hand, focuses its intention on entertainment or amusement by offering the
readers a strong world, exciting, adventures, or puzzling mysteries. Adventure
stories, detective stories, tales of fantasy, and many humorous stories are
examples of escape literature (Harmon, 178).
Practice
1. Read the work below!
MY MISTRESS EYES ARE NOTHING LIKE THE SUN
William Shakespeare
My mistress eyes are nothing like the sun
Coral is far more red than her lips red:
If snow be white, why then her breasts are dun;
If hair be wires, black wires grow on her head.
I have seen roses damasked, red and white,
but no such roses see I in her cheeks;
And in some perfumes is there more delight
Than n the breath that from my mistress reeks.
I love to hear she speak, yet well I know
That music hath a far more pleasing sound:
I grant I never saw a goddess go,
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love is rare
As any she belied with false compare
2. Answer the following questions about the poem!
a. Who is speaking in the poem?
b. Whom is he/she talking to?
c. What/Whom is he/she talking about?
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d. Does he/she describe someone/something?
e. How does he/she do it?
f. What kind of person do you think the speaker is?
g. What is the theme of the poem?
3. Regardless of the popularit of the author, e aluate the ork usi g Rees’s
criteria of good works.
a. psychological truth
Do you think the theme of the poem agreeable?
Do you find the description reasonable?
Do ou support the speaker’s a i e pressi g his lo e?
b. Originality
Do you think the poem employs some lines of other works?
Have you ever read some expressions in the poem in other
works written previously?
Have you ever witnessed another writer employs the style of
the writer in the poem above?
c. Craftsmanship
Do ou see the author’s atte pts of getti g the reader’s
impression through the form of the language used?
Do you get any surprises in the expressions or message used
in the poem? What are they?
d. consciousness of moral values
What lessons or awareness about life can you draw from the
poem?
How does the message touch you?
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Home Assignment
Find three works that you know and fill out the grid below by writing your
brief judgment in the appropriate column. Use the questions in number 3 to
guide you.
No
Title and
Author
Psychological
Truth
Originality
Craftsmanship
Consciousness
of Moral Values
1
2
3
Complete the paragraph below as a model of your appreciation report on a work.
This ork is e titled ……….a d ritte
………It is pu lished i ……….
……… i
………
M ge eral o
e t a out the ook is …………………………………..
The following is some detailed quality I found in the work.
First, when I read it I feel that the poem/story is very much/fairly/not really/not
reaso a l de eloped. It talks a out …………… “e eral thi gs that uild/do ot
uild the ps hologi al truth are ………., ………., ……….
Besides/Ho e er, ……………..
Secondly, this work indicates high/low originality. It is not about the them but
the a this ork is prese ted. I thi k the/so e ter s elo g to the riter’s
o
reatio /other riter’s st le ……… I as surprised to see the ………. hi h
akes
e realize that ………./ I thi k I ha e e er read the ter s/e pressio s/flo
of the work i ……… ritte
……… . This
akes
e o lude that this ork
offers/does not offer new experience to me).
Thirdly, when I read this work I got a lot of/enough/a little impression in the
reati it of the author…………………………………………..
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This work not really/really teaches me about life. It gives/does not give enough
lesso a out life………………………………………………………………………………….
………………………………………………………………. I thi k I agree/ disagree a out it.
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CHAPTER IV
GENRES OF LITERATURE
Deskripsi Singkat
This course is designed to present the knowledge about the concept of literature,
various genres of literary works and their definitions, knowing the intrinsic
elements of each genre and some qualities of literature, and being able to make
personal response not only orally but also written by implementing values of
humility and repect
Capaian Pembelajaran Pertemuan (Sub-CPMK)
-
Explaining the genres of literature
-
Explaining definition of poetry, short story, novel, and film
-
Describing the poetic values of poetry, short story, novel, and film
Genre is derived from a French term, meaning kind, genus, or type. In A
Handbook of Literature Holland and Harmon (1992) say that the traditional genre
of literature includes tragedy, comedy, epic, lyric and pastoral. However, today it
includes novel, short story, essay, television play, and motion picture scenario.
Further they argue that:
critics today frequently regard genre distinction as useful
descriptive
devices but
rather
arbitrary ones. Genre
boundaries have been much subject to flux and blur in recent
time, and it is almost a rule that a successful work will combine
genres in some original way.
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We can find prose poems, movie with comic scenes, etc in our surrounding
which show the lenient categorization of literary works. In this handout the
discussion will be limited on poetry, fiction, drama and film.
POETRY
Poetry has profoundly special composition. It has what is call poetic values in the
for
of
ords a d sou d. To gi e larifi atio o poeti
alue, si ilarl , let’s
observe the following expressions.
- An apple a day keeps the doctor away.
- A friend in need is a friend indeed.
- Home sweet home.
Why do you think those expressions impress you? How do they sound? Those
are, more or less, the samples of poetic values. They have some repeated sounds
and show regular beats. Now observe the following words;
a.
bed / sleep
slumber
b.
cart
chariot
c.
bird
robin
d.
house
castle
e.
cat
kitten
f.
song
serenade
g.
grow
blossom
Which word in each pair gives a better image? Why do you think so? There is
another thing I want to show about poetic value, that is condensed form of
sentences or phrases as follows; Compare the following sentences!
a. The giant comes, please notice!
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Here comes the giant!
b. I never saw such a deep calm (quietness).
Never saw I, a calm so deep.
Besides to get pleasure from poetry, the poets also use poetry as a means of
contemplation that will result in enlightenment. The latter elevates the content
of poetry.
Practice
1. Read the following poems.
2. Answer the following questions based on each poem.
a. Who is the speaker?
b. Whom is he/she talking to?
c. What is he/she talking about?
d. How is he/she talking about it?
3. Identify the poetic values of the poems.
a.
THERE IS NO FRIGATE LIKE A BOOK
There is no frigate like a book
To take us land away
Or any courses like a page
Of prancing poetry
This traverse may be the poorest take
Without oppress of toll;
How frugal the chariot
That bears the human soul
b.
THIS IS JUST TO SAY
I have eaten the plums
That were in
The ice box
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And which
You were probably
Saving for breakfast
Forgive me
They were delicious
So sweet
And so cold
FICTION
Based on its form, fiction can be divided into 5:
1. No el We all it as ro a , Dut h ter
2. Novelette (Indonesian: novel, Dutch: novella, French: nouvelle).
3. Short story (cerita pendek)
4. Short short story (cerita singkat)
5. vignette (sangkat singkat)
No el o es fro
the Greek
ord
o ellus deri ed fro
the
ord
o ies
which means new. It is called new as it appears latter than any other genre.
Some of the examples of English novel are Robinson Crusoe and (Daniel Defoe)
a d Gulli er’s Tra el Jo atha “ ift . The first is ritte as auto iograph
hi h
explains the reality in details; meanwhile the latter can be considered as a satire.
Novel started its popularity in the nineteenth century with the portray of middle
class society such as Pride and Prejudice (Jane Austin) and David Copperfield
(Charles Dickens). Another example is Pamela written by Samuel Richardson in
1740. The character of Pamela is revealed in a personal way, by using the
epistolary form for "dramatic" purposes. An epistolary novel is a novel written as
a series of documents. The usual form is letters, although diary entries,
newspaper clippings and other documents are sometimes used. Recently,
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electronic "documents" such as recordings and radio, blogs, and e-mails have
also come into use. The word epistolary is derived from Latin from the Greek
ord ἐπιστολή epistolē ,
ea i g a letter.
(https://en.wikipedia.org/wiki/Samuel_Richardson#Epistolary_novel)
Novel is an expended fiction. If in a short story a character is less developed,
there is elaborate description of characteristics in a novel. In novel there can be
various events intertwined causing a more complex problem. A shorter novel but
longer than a short story is called novelette. Kenney states that a novel usually
consists of around forty-five thousand words or more. In Holland and Harmon A
Handbook of Literature novel is designated any extended fictional narrative and
almost always in prose. The representation of character occurs either in static
condition or in the process of development as a result of the events or actions.
While there are many things to consider when analyzing a novel, space limitation
prohibit discussing all of them. Future articles in this series will address these and
other issues in more detail. For now, we will start with the basics. Theme,
characters, plot, point of view, and setting are essential elements in any story.
a. Theme
Theme is simply the moral of your story. It is the message you wish to convey or
the lesson you want to learn. Theme is revealed through the values of characters
when confronting obstacles and resolving conflict in pursuit of their goal. It can
be considered the foundation and purpose of the novel. Without purpose, the
story becomes trivial.
b. Characters
Generally speaking, characters in a text can be rendered either as types or as
individuals. A typified character in literature is dominated by one specific trait
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and is referred to as a flat character. The term round character usually denotes a
persona with more complex and different features.
c. Plot
Plot is the movement in a story toward the resolution. Nothing happens at
random. Every scene should further the plot. Plot is shown through the actions
and agendas of the characters. Throughout the story, they overcome obstacles
until they finally reach their goal(s). If the novel is well plotted, the stakes will get
higher and higher thereby creating tension. An ideal traditional plot line
encompasses the following four sequential levels: Exposition – complication climax or turning point – resolution.
d. Point of View
Point of view is who is telling the story. This can be done several ways. In first
person, one character is speaking in the "I" voice. Second person, which uses
"you," is the least common point of view. Third person, who can be handled in a
variety of ways, is the most often used method. In third person limited, the
narrator can only go inside the head of the character telling the story. This
requires the character to be in every scene which must be told through their
eyes. Third person omniscient gives the author the most freedom. Using this, the
author can have different point of view characters for different scenes.
e. Setting
According to Kenney (1966: 38-39), there are two types of setting. They are as
the following:
(1)
neutral setting (physical setting)
(2)
spiritual setting (the values implied by the physical setting)
further Kenney (1966: 40) says that setting is composed based on the several
elements, they may be listed under four headings: (1) the actual geographical
lo atio , i ludi g topograph , s e er , e e the details of a roo ’s i terior; 2
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the occupations and modes of day-to-day existence of the characters; (3) the
time in which the action takes place, e.g., historical period, season of the year;
(4) the religious, moral intellectual, social, and emotional environment of the
characters.
B. NOVELLET
No ellet o es fro
the
ord
o el added
the suffi
ette
hi h
ea s
small. Novellet means small novel. It is between novel and short story. Some of
the examples of English novellet are Benito Cereno (Herman Melville), The Turn
of the Screw (Henry James), Master and Man (Leo Tolstoy), Heart of Darkness
(Joseph Conrad), The Bear (William Faulkner), The Old Man and the Sea (Earnst
Hemingway).
C. SHORT STORY
A short story is first acknowledged due to its length. According to Kenney (1966),
it is normally applied to works of fiction ranging in length from one thousand to
fifteen thousand words. Edgar Allan Poe in Kenney had a proper argument on
this length when he said it should be short enough to be read at one sitting and
long enough to produce the desired effect on the reader. In terms of
development, the focus of a short story seems to create the mood rather than
the plot. Consequently, we seldom see a character fully exposed in a short story.
The plot is usuall
ased o a si gle i ide t i the hara ter’s life
hi h is
effective to stir up the emotion of the readers.
DRAMA
So far, we have identified distinct features belonging to fiction and poetry, two
genres which rely on the written or spoken words as their primary means of
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expression. The dramatic or performing arts, however, combine the verbal with a
number of non-verbal or optical-visual means, including stage, scenery, shifting
of scenes, facial expressions, gestures, make-up, props and lighting. This
emphasis is also reflected in the word drama itself, which derived from the Greek
dra i
to do or to a t , there
referri g to a perfor a e or presentation by
actors.
The ancient Greek philosopher Aristotle, who laid the foundations for the
critical studies of drama, divided the elements of drama into plot, character,
thought, language, and spectacle.
FILM
In the end of the twentieth century, it is impossible to neglect film as a semitextual genre both influenced by exerting influence on literature and literary
criticism. In spite of their differing forms and media, drama and film are often
categorized under the heading performing arts because they use actors as their
major means of expression. The visualization of the action is not left merely to
the imagination of a reader, but rather comes to life in the performance,
independent of the audience. In both genres, a performance (in the sense of
visual representation by people) stands at the centre of attention. It is
misleading, however, to deal with film exclusively in the context of drama, since
categorizing it under the performing arts does not do justice to the entire genre,
which also includes non-narrative subgenres without performing actors.
Film is very close to drama. The stage of drama performance is specially
set up, and so is the stage of a film, though film covers a wider and looser space.
However, when discussed in terms of its product, film can be regarded as a
written text, and may consequently be enjoyed and treated as a prose fiction. In
analyzing a film, there a three major parts that must be considered as the
following:
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1. Plot
2. Archetypal elements
a. Setting
(1) The waste land. A place where nothing is growing. It is not a beautiful place.
That is why it is usually parts of the journey but not for the destination.
(2) The garden. In contrast with the wasteland, It is a place of perfection. It is
not dangerous and not artificial.
(3) The wilderness. It is a balance place between the garden and the wasteland.
It represents the unknown place (Narnia).
(4) The underworld/ hell. It is a bad place.
(5) The castle. It is a place for protection. It can be good or bad based on the
character who is leaving in it.
(6)The crossroads/ doorway. A place that is so different. Any time you open it, it
is about choice and change (wardrobe in Narnia)
(7) The suburbia. A more modern place in which we can find a unique or
different thing in it. Everything is in the same figure, lack of individualism.
(8) Paradise. A perfect place.
b. Symbols
A symbol is a person, place, or thing comes to represent an abstract idea or
concept -- it is anything that stands for something beyond itself.
c. Character
The character archetype is divided into:
HERO
(1) The alpha male. He usually represents the character of prince charming and
the only one (James Bond, Sherlock Holmes),
(2) The lost soul, the guy who is reluctant to do/ to act . He is usually the chosen
one as it is his destiny (Harry potter, Frodo in Lord of the Rings),
(3) The charmer, he is good-looking, persuasive, attractive person, being able to
manipulate and make a trick (Robin Hood, Leonardo in Catch Me if you Can).
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(4) The professor. The intellect, he is using his intelligence (mind) to solve the
problems (Mc Gyver),
(5)The best friend. He is usually a nice guy who is willing to do what it takes,
come along together (Sam in Lord of the Rings),
(6) The everyman. Accidentally becomes a hero. Normally he is an ordinary and
normal boy, not particularly attractive, not particularly strong, but he can be
a hero (Peter Parker in Spiderman, Forrest Gump).
(7) The sidekick/henchman. (please define)
(8) The guide. (please define)
VILLAIN
(1) The tyrant. Somebody who has manipulated his environment. He usually
controls everything.
(2) The Bastard/ Outcast. Feels like they have not given what they deserve. They
usually do not belong to the environment and not necessarily accepted by
society.
(3) The Mad Scientist. Bad professor who use his intelligence, science, and
technology to win over something.
(4) The sadist. Insist to be bad. Not about ideology or reason but it is only about
being bad, pure evil. They do not only kill but also hurt.
(5) The terrorist. Doing something bad because he wants to get the money or
something
WOMAN
(1) Madonna/Ingenue. Weak, girly, and becomes an object of struggle between
the hero and the villain.
(2) The tomboy. Active female character, not particularly pretty and girly but a
fighter. And quite strong. She can hold everything by herself.
(3) The temptress. A woman who is able to tempt someone.
d. Conflict
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There are four kinds of conflict: (1) man against himself, (2) man against
man, (3) man against nature, and (4) man against society.
Practice
Watch the following films:
1. Narnia: Lion, the Witch, and the Wardrobe (Writing response: what two
different archetypes do you think Edmund fits into best?)
2. The Terminal (Writing response: what archetypal setting does it have?)
3. Other Boley ’s Girls (Writing response: To what extent is the film
tragedy?)
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REFERENCES
Corrigan, Timothy. 1998. A Short Guide To Writing About Film. Third Edition.
Longman
Haryanti, Rahayu Puji. 2008. Introduction to Literary Studies 1. Handout.
Hatlen, Theodore W. 1962. Orientation to the Theatre. New York: Meredith
Publishing Company
Kenney, William. 1966. How to Analyze Fiction. New York: Monash Press
Kinsella, Kate et al. A tigo e i Literature: Timeless Voices, Timeless
Themes. 2002. New Jersey: Prentice Hall
Klarer, Mario. 1999. An Introduction to Literary Studies. London: Routledge
Perrine, Laurence. 1969. Sound and Sense: An Introduction to Poetry. New
York: Harcourt, Brace, and World Inc
White irds, Mar . Ta-Na-E-Ka i Being People: An Anthology for Non-Native
Speakers of English. Edited by Thomas Kral. Washington DC: United
States Iinformation Agency.
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BAHAN AJAR
INTODUCTION TO LITERARY STUDIES
15P00939
2 SKS
PROGRAM STUDI SASTRA INGGRIS
FAKULTAS BAHASA DAN SENI
UNIVERSITAS NEGERI SEMARANG
2017
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VERIFIKASI BAHAN AJAR
Pada hari ini Senin tanggal 10 bulan Februari tahun 2017 Bahan Ajar Mata
Kuliah Introduction to Literay Studies Program Studi Sastra Inggris Fakultas
Bahasa dan Seni telah diverifikasi oleh Ketua Jurusan/ Ketua Program Studi
Sastra Inggris
Semarang, 10 Februari 2017
Ketua Jurusan/ Ketua Prodi
Tim Penulis
Dr. Rudi Hartono, S.S., M.Pd.
NIP 19690907 200212 1 001
Fatma Hetami, S.S., M.Hum.
NIP 19770827 200812 2 002
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PRAKATA
Bahan ajar ini disusun untuk memberikan gambaran yang berkaitan dengan
dasar-dasar pengetahuan dan pemahaman mengenai pengenalan terhadap
definisi, kulaitas dan macam-macam karya sastra. Diharapkan dengan bahan
ajar ini dapat memberikan bekal dasar mengenai pentingnya pengenalan
terhadap apa itu sastra. Selain itu diharapkan bahan ajar ini dapat membentuk
critical thinking mahasiswa baik dalam bentuk tertulis maupun lisan.
Bahan ajar ini tersusun dari 4 bab, yang masing-masing akan membahas topik
yang berbeda namun tetap saling berhubungan. Dimulai dengan bahasan
mengenai definisi literature, literature around us, some qualities in literature, dan
genre of literature. Bahan ajar ini juga bukan sebagai satu-satunya sumber dalam
proses pembelajaran, sehingga bahan lain terutama yang berkaitan dengan
jurnal
penelitian
akan
ditambahkan
untuk
memperkaya
konteks
kajian
Introduction to Literary Studies.
Selanjutnya, masukan dan tanggapan terhadap bahan ajar ini akan sangat
membantu untuk mengembangkan dan menyempurnakan isi dalam bahan ajar
ini. Semoga bahan ajar ini dapat berguna bagi dosen maupun mahasiswa yang
mempelajari matakuliah Introduction to Literary Studies.
Selamat Membaca!
Tim Penulis
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KEMENTERIAN RISET, TEKNOLOGI DAN PENDIDIKAN TINGGI
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DAFTAR ISI
Prakata
Daftar Isi
Bab I What is Literature?
Deskripsi Singkat
Capaian pembelajaran pertemuan
Pertanyaan
Bab II Literature Around Us
Deskripsi Singkat
Capaian pembelajaran pertemuan
pertanyaan
Bab III Some Qualities in Literature
Deskripsi Singkat
Capaian pembelajaran pertemuan
pertanyaan
Bab IV Genre of Literature
Deskripsi Singkat
Capaian pembelajaran pertemuan
pertanyaan
Daftar Pustaka
i
ii
1
1
1
14
15
15
15
94
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CHAPTER I
WHAT IS LITERATURE?
Deskripsi Singkat
This course is designed to present the knowledge about the concept
of literature, various genres of literary works and their definitions, knowing
the intrinsic elements of each genre and some qualities of literature, and
being able to make personal response not only orally but also written by
implementing values of humility and repect
Capaian Pembelajaran Pertemuan (Sub-CPMK)
The students are expected to be able to explain the concept of
literatureand able to define the concept of literature in broad and narrow
sense.
People ask what literature is very often, but they get unsatisfactory answers. In
most books it is said that literature comes from Latin word Litterature, which is
etymologically derived from the word littera (letter).
According to Rees, literature can be defined into two definitions. They are
literature in narrow sense and literature in broad sense. The former means
anything that is written: time tables, catalogues, textbooks, travel brochures, and
so on.
However, literature, as a major at college, has a different and perhaps more
serious se se. To get
ore u dersta di g a out the defi itio s a o e let’s take a
look on the comparison of two pieces of writing;
Text 1
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London : Capital city of England and a port on the river Thames. It includes
twenty – eight metropolitan boroughs. It is a cultural and industrial center, and
an important center of international trade and finance. It has a university and
many buildings of historic importance, including, the House of Parliament,
West i ster A ey, St. Paul’s Cathedral, a d the To er of Lo do . The
population of Greater London in 1961 was eight million one hundred and seventy
– one thousand, nine hundred and two.
Text 2
Earth has nothing to show more fair
Dull would he be of soul who could pass by
A sight so touching in his majesty
This city now doth, like a garment wear
The beauty of the morning, silent bare
Ships, towers, domes, theatres, and temples lie
Open unto the fields, and unto the sky
All bright and glittering in the smokeless air
Never did the sun more beautifully steep
In the first splendour, valley, rock or hill
Ne’er sa I, e er felt, a al so deep
The river glideth at his own sweet will
Dear God! The very houses seem asleep
And all that mighty heart is lying still!
What is described in text 1? What is described in text 2? How do you feel
reading text 1? How do you feel reading text 2? What is the writer of text 1 trying
to share? What is the writer of text 2 trying to share? Does the writer of text 1
state what he means clearly? Does the writer of text 2 state what he means
clearly? In what kind of publishing is text 1 usually found? What about text 2?
Comparing the two texts above, we will find out different purposes of
writing. The writer of the first text only wants to tell us as many facts (about
London) as possible in a limited space. He does not want to tell us about his
feelings or make us feel the particular emotion about London. What about the
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second writer? Does he want to share any information with the readers? Are
there other things he wants to extend?
We catch, in the second text, information about a city, a feeling of
admiration about the situation the city creates, and emotion of splurging in the
beauty of the city. Besides, the writing implies human thankfulness to His creator
for the invaluable gift in the form of the nature. In short, it shares information,
e otio , feeli gs, a d respo ses upo the gift fro
God. This leads to Rees’s
second definition of literature that is anything that is written which expresses
ideas, emotion, feelings, and attitude toward life.
Some other literary critics choose to define literature as an art. This
definition results in a shift in the area of literature into covering works of the
imagination or creative writing. It is also a challenging contribution to think that,
as they were written skillfully which show the traces of creativity, and as they
were addressing more than just individuals thus appealing the writer’s
imagination of the future and concern about life, monumental documents such
as in Indonesia, Habis Gelap Terbitlah Teran, the olle tio
of R.A. Karti i’s
personal letters to J.A. Abendanon in the Netherlands, can be regarded as
literary works.
Literary study is then defined as the study on creative works of the
imagination which have concern about life and use language as the media.
Exercises
1. E aluate
hether the follo i g te ts elo g o l to Ree’s definition or to
both the first and second definition?
2. Which text has imaginative and creative aspect? How do you justify your
answer?
a. My dear loving wife
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I realize that you ea a lot to e. You’ e gi e
e support to gai a
su ess. Please stay a d do ’t ever leave me. Pray we can have better
ti es i the future. I k o I’ e ade istakes to you, ut they just tur
up to show that I am nothing without you.
b. WOMAN
(John Lennon)
Wo a I a ’t hardl e press
My mix emotions and thoughtlessness
After all I’m forever in your debt
And woman I will try to express
My inner feelings and thankfulness
For showing the meaning of success
Woman I know you understand
The little child inside the man
Please, remember my life is in your hands
And woman hold me close to your heart
Ho e er dista t do ’t keep us apart
After all it is written in the stars
Woman, please let me explain
I never meant to cause you sorrow or pain,
So let me tell you again and again and again
I love you now and forever
3. In groups, find some other te ts, deter i e
hether the
elo g to Rees’s
definition of literature in the broad sense or narrow sense, and identify the
imaginative and creative aspect the text might have. Remember, texts
include spoken, written, visual and audio texts.
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CHAPTER II
LITERATURE AROUND US
Deskripsi Singkat
This course is designed to present the knowledge about the concept of
literature, various genres of literary works and their definitions, knowing
the intrinsic elements of each genre and some qualities of literature, and
being able to make personal response not only orally but also written by
implementing values of humility and repect
Capaian Pembelajaran Pertemuan (Sub-CPMK)
Ability to define and appreciate some children literature (English) like
nursery rhymes, bedtime stories, gags, riddles, etc
Many students of language are worried about being engaged in literature. They
think literature requires a particular talent that not everyone can get through it
successfully. As a matter of fact, some people are gifted to understand or
produce a literary work more than the others. However, naturally, almost
everyone in the world has some experience with literature.
During the life journey from childhood to adulthood, people are exposed
to literature. This can be seen in the existence of nursery rhymes in almost all
nations. At other times, children are acquainted with bedtime stories and fairy
tales. In any society, people are familiar with folktales and legends. Besides, they
find stories about their ancestors in religious books.
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The knowledge about childre ’s traditio pla s a er i porta t role i
u dersta di g other
orks. “o e serious
orks so eti es allude to ertai
popular rhymes.
The gla e at hildre ’s traditio i this hapter
ill reate a i sight to
studying literature. The nursery rhymes, fables, bedtime stories, riddles, gags,
etc, discusses hopefully will involve students playing, thinking and creating
activities.
Exercises
1. Read the rhymes below aloud, study the ideas, and find out what children
can learn from them by filling out the grid provided.
The nursery rhymes are Ding Dong Bell, Baa Baa Black Sheep, Humpty
Dumpty, A Baby, Hickory, Dickory, Dock, One Two, Jack and Jill, Are You
Sleeping?, Two Little Hands To Clap, Clap, Clap, Twinkle Twinkle Little Star,
Hop a Little, Old MacDonald, and Mary Had A Little Lamb.
No
1
2
3
4
5
6
7
8
9
10
11
Title
Topic
Lesson for Children
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12
13
2. Group work
Find some stories or nursery rhymes in your surroundings and discuss the
moral values. Report the result in the following form:
Other
No
Title
Theme
Moral Values
Remarks
3. Discussion
a. Find some stories from different regions, islands, or countries.
b. Do they share some characteristics?
c. If they are completely different, what makes the differences?
d. If they have similarities, what make them similar?
e. In your opinion why are they similar?
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CHAPTER III
SOME QUALITIES OF LITERATURE
Deskripsi Singkat
This course is designed to present the knowledge about the concept of
literature, various genres of literary works and their definitions, knowing
the intrinsic elements of each genre and some qualities of literature, and
being able to make personal response not only orally but also written by
implementing values of humility and repect
Capaian Pembelajaran Pertemuan (Sub-CPMK)
-
Defining some qualities in literature
-
Analyzing qualities of some literary works .
The discussion around whether a work is good or bad, liked or disliked, should be
switched into under what genres and movement is a work created. A
complicated plot can be too hard for children, and socio-political nuances might
ot ater for tee ager’s delight. Ho e er, readers of a he ge re
a
eed to
explain why they like the books in terms of appreciation. So, there should be
some devices to evaluate the quality of literary works to help them express how
they feel about the books. The followings are the criteria of good literature
proposed by Rees;
a. Psychological truth
It is the quality of reflecting thoughts or feelings recognized as being true
to life. Rees explains that the work reveals human feelings and thoughts
that most human beings have had experienced.
b. Originality
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A work is original when it shows its own way of presenting. It shows the
individual style of an author which does not belong to another. Originality
does not concern about themes because certain authors might use
classical or traditional themes. With the specific way of presenting and
certain style of composition, though, the work will be original.
c. Craftsmanship
Literary work is good when the author has creativity and skills in revealing
his ideas, feelings, and emotions. Some works show craftsmanship when
they employ selected words or words which are not ordinarily used. For
example: a chariot sounds better than a cart; freight is more esthetic than
a boat or a ship; in slumber is more elegant than in bed or just asleep.
Skillful authors develop charms in forms and content which are typically
their ways. They provide surprises and creativity in presenting the forms
and content of their works, which by the end of the reading, touch the
readers’ a are ess a d o er to ard life.
Some prominent authors prove that the strength of a work does not
always lie in forms such as diction, sentence construction, rhymes, etc.
d. consciousness of moral values
It means literature should contain a message about the pervasive
conflicts between good and evil. A good work is expected to continuously
remind people that good and evil are real and that we cannot be neutral
toward them.
e. Permanence
It means a work is always expected to be read by people from any
generation.
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Serious Literature versus Escape Literature
Some works are regarded as serious as they offer, besides entertainment,
awareness about some philosophical, social, or psychological, or other concepts
in life. The conflicts make the readers think about life. Escape literature, on the
other hand, focuses its intention on entertainment or amusement by offering the
readers a strong world, exciting, adventures, or puzzling mysteries. Adventure
stories, detective stories, tales of fantasy, and many humorous stories are
examples of escape literature (Harmon, 178).
Practice
1. Read the work below!
MY MISTRESS EYES ARE NOTHING LIKE THE SUN
William Shakespeare
My mistress eyes are nothing like the sun
Coral is far more red than her lips red:
If snow be white, why then her breasts are dun;
If hair be wires, black wires grow on her head.
I have seen roses damasked, red and white,
but no such roses see I in her cheeks;
And in some perfumes is there more delight
Than n the breath that from my mistress reeks.
I love to hear she speak, yet well I know
That music hath a far more pleasing sound:
I grant I never saw a goddess go,
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love is rare
As any she belied with false compare
2. Answer the following questions about the poem!
a. Who is speaking in the poem?
b. Whom is he/she talking to?
c. What/Whom is he/she talking about?
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d. Does he/she describe someone/something?
e. How does he/she do it?
f. What kind of person do you think the speaker is?
g. What is the theme of the poem?
3. Regardless of the popularit of the author, e aluate the ork usi g Rees’s
criteria of good works.
a. psychological truth
Do you think the theme of the poem agreeable?
Do you find the description reasonable?
Do ou support the speaker’s a i e pressi g his lo e?
b. Originality
Do you think the poem employs some lines of other works?
Have you ever read some expressions in the poem in other
works written previously?
Have you ever witnessed another writer employs the style of
the writer in the poem above?
c. Craftsmanship
Do ou see the author’s atte pts of getti g the reader’s
impression through the form of the language used?
Do you get any surprises in the expressions or message used
in the poem? What are they?
d. consciousness of moral values
What lessons or awareness about life can you draw from the
poem?
How does the message touch you?
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Home Assignment
Find three works that you know and fill out the grid below by writing your
brief judgment in the appropriate column. Use the questions in number 3 to
guide you.
No
Title and
Author
Psychological
Truth
Originality
Craftsmanship
Consciousness
of Moral Values
1
2
3
Complete the paragraph below as a model of your appreciation report on a work.
This ork is e titled ……….a d ritte
………It is pu lished i ……….
……… i
………
M ge eral o
e t a out the ook is …………………………………..
The following is some detailed quality I found in the work.
First, when I read it I feel that the poem/story is very much/fairly/not really/not
reaso a l de eloped. It talks a out …………… “e eral thi gs that uild/do ot
uild the ps hologi al truth are ………., ………., ……….
Besides/Ho e er, ……………..
Secondly, this work indicates high/low originality. It is not about the them but
the a this ork is prese ted. I thi k the/so e ter s elo g to the riter’s
o
reatio /other riter’s st le ……… I as surprised to see the ………. hi h
akes
e realize that ………./ I thi k I ha e e er read the ter s/e pressio s/flo
of the work i ……… ritte
……… . This
akes
e o lude that this ork
offers/does not offer new experience to me).
Thirdly, when I read this work I got a lot of/enough/a little impression in the
reati it of the author…………………………………………..
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This work not really/really teaches me about life. It gives/does not give enough
lesso a out life………………………………………………………………………………….
………………………………………………………………. I thi k I agree/ disagree a out it.
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CHAPTER IV
GENRES OF LITERATURE
Deskripsi Singkat
This course is designed to present the knowledge about the concept of literature,
various genres of literary works and their definitions, knowing the intrinsic
elements of each genre and some qualities of literature, and being able to make
personal response not only orally but also written by implementing values of
humility and repect
Capaian Pembelajaran Pertemuan (Sub-CPMK)
-
Explaining the genres of literature
-
Explaining definition of poetry, short story, novel, and film
-
Describing the poetic values of poetry, short story, novel, and film
Genre is derived from a French term, meaning kind, genus, or type. In A
Handbook of Literature Holland and Harmon (1992) say that the traditional genre
of literature includes tragedy, comedy, epic, lyric and pastoral. However, today it
includes novel, short story, essay, television play, and motion picture scenario.
Further they argue that:
critics today frequently regard genre distinction as useful
descriptive
devices but
rather
arbitrary ones. Genre
boundaries have been much subject to flux and blur in recent
time, and it is almost a rule that a successful work will combine
genres in some original way.
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We can find prose poems, movie with comic scenes, etc in our surrounding
which show the lenient categorization of literary works. In this handout the
discussion will be limited on poetry, fiction, drama and film.
POETRY
Poetry has profoundly special composition. It has what is call poetic values in the
for
of
ords a d sou d. To gi e larifi atio o poeti
alue, si ilarl , let’s
observe the following expressions.
- An apple a day keeps the doctor away.
- A friend in need is a friend indeed.
- Home sweet home.
Why do you think those expressions impress you? How do they sound? Those
are, more or less, the samples of poetic values. They have some repeated sounds
and show regular beats. Now observe the following words;
a.
bed / sleep
slumber
b.
cart
chariot
c.
bird
robin
d.
house
castle
e.
cat
kitten
f.
song
serenade
g.
grow
blossom
Which word in each pair gives a better image? Why do you think so? There is
another thing I want to show about poetic value, that is condensed form of
sentences or phrases as follows; Compare the following sentences!
a. The giant comes, please notice!
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Here comes the giant!
b. I never saw such a deep calm (quietness).
Never saw I, a calm so deep.
Besides to get pleasure from poetry, the poets also use poetry as a means of
contemplation that will result in enlightenment. The latter elevates the content
of poetry.
Practice
1. Read the following poems.
2. Answer the following questions based on each poem.
a. Who is the speaker?
b. Whom is he/she talking to?
c. What is he/she talking about?
d. How is he/she talking about it?
3. Identify the poetic values of the poems.
a.
THERE IS NO FRIGATE LIKE A BOOK
There is no frigate like a book
To take us land away
Or any courses like a page
Of prancing poetry
This traverse may be the poorest take
Without oppress of toll;
How frugal the chariot
That bears the human soul
b.
THIS IS JUST TO SAY
I have eaten the plums
That were in
The ice box
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And which
You were probably
Saving for breakfast
Forgive me
They were delicious
So sweet
And so cold
FICTION
Based on its form, fiction can be divided into 5:
1. No el We all it as ro a , Dut h ter
2. Novelette (Indonesian: novel, Dutch: novella, French: nouvelle).
3. Short story (cerita pendek)
4. Short short story (cerita singkat)
5. vignette (sangkat singkat)
No el o es fro
the Greek
ord
o ellus deri ed fro
the
ord
o ies
which means new. It is called new as it appears latter than any other genre.
Some of the examples of English novel are Robinson Crusoe and (Daniel Defoe)
a d Gulli er’s Tra el Jo atha “ ift . The first is ritte as auto iograph
hi h
explains the reality in details; meanwhile the latter can be considered as a satire.
Novel started its popularity in the nineteenth century with the portray of middle
class society such as Pride and Prejudice (Jane Austin) and David Copperfield
(Charles Dickens). Another example is Pamela written by Samuel Richardson in
1740. The character of Pamela is revealed in a personal way, by using the
epistolary form for "dramatic" purposes. An epistolary novel is a novel written as
a series of documents. The usual form is letters, although diary entries,
newspaper clippings and other documents are sometimes used. Recently,
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electronic "documents" such as recordings and radio, blogs, and e-mails have
also come into use. The word epistolary is derived from Latin from the Greek
ord ἐπιστολή epistolē ,
ea i g a letter.
(https://en.wikipedia.org/wiki/Samuel_Richardson#Epistolary_novel)
Novel is an expended fiction. If in a short story a character is less developed,
there is elaborate description of characteristics in a novel. In novel there can be
various events intertwined causing a more complex problem. A shorter novel but
longer than a short story is called novelette. Kenney states that a novel usually
consists of around forty-five thousand words or more. In Holland and Harmon A
Handbook of Literature novel is designated any extended fictional narrative and
almost always in prose. The representation of character occurs either in static
condition or in the process of development as a result of the events or actions.
While there are many things to consider when analyzing a novel, space limitation
prohibit discussing all of them. Future articles in this series will address these and
other issues in more detail. For now, we will start with the basics. Theme,
characters, plot, point of view, and setting are essential elements in any story.
a. Theme
Theme is simply the moral of your story. It is the message you wish to convey or
the lesson you want to learn. Theme is revealed through the values of characters
when confronting obstacles and resolving conflict in pursuit of their goal. It can
be considered the foundation and purpose of the novel. Without purpose, the
story becomes trivial.
b. Characters
Generally speaking, characters in a text can be rendered either as types or as
individuals. A typified character in literature is dominated by one specific trait
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and is referred to as a flat character. The term round character usually denotes a
persona with more complex and different features.
c. Plot
Plot is the movement in a story toward the resolution. Nothing happens at
random. Every scene should further the plot. Plot is shown through the actions
and agendas of the characters. Throughout the story, they overcome obstacles
until they finally reach their goal(s). If the novel is well plotted, the stakes will get
higher and higher thereby creating tension. An ideal traditional plot line
encompasses the following four sequential levels: Exposition – complication climax or turning point – resolution.
d. Point of View
Point of view is who is telling the story. This can be done several ways. In first
person, one character is speaking in the "I" voice. Second person, which uses
"you," is the least common point of view. Third person, who can be handled in a
variety of ways, is the most often used method. In third person limited, the
narrator can only go inside the head of the character telling the story. This
requires the character to be in every scene which must be told through their
eyes. Third person omniscient gives the author the most freedom. Using this, the
author can have different point of view characters for different scenes.
e. Setting
According to Kenney (1966: 38-39), there are two types of setting. They are as
the following:
(1)
neutral setting (physical setting)
(2)
spiritual setting (the values implied by the physical setting)
further Kenney (1966: 40) says that setting is composed based on the several
elements, they may be listed under four headings: (1) the actual geographical
lo atio , i ludi g topograph , s e er , e e the details of a roo ’s i terior; 2
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the occupations and modes of day-to-day existence of the characters; (3) the
time in which the action takes place, e.g., historical period, season of the year;
(4) the religious, moral intellectual, social, and emotional environment of the
characters.
B. NOVELLET
No ellet o es fro
the
ord
o el added
the suffi
ette
hi h
ea s
small. Novellet means small novel. It is between novel and short story. Some of
the examples of English novellet are Benito Cereno (Herman Melville), The Turn
of the Screw (Henry James), Master and Man (Leo Tolstoy), Heart of Darkness
(Joseph Conrad), The Bear (William Faulkner), The Old Man and the Sea (Earnst
Hemingway).
C. SHORT STORY
A short story is first acknowledged due to its length. According to Kenney (1966),
it is normally applied to works of fiction ranging in length from one thousand to
fifteen thousand words. Edgar Allan Poe in Kenney had a proper argument on
this length when he said it should be short enough to be read at one sitting and
long enough to produce the desired effect on the reader. In terms of
development, the focus of a short story seems to create the mood rather than
the plot. Consequently, we seldom see a character fully exposed in a short story.
The plot is usuall
ased o a si gle i ide t i the hara ter’s life
hi h is
effective to stir up the emotion of the readers.
DRAMA
So far, we have identified distinct features belonging to fiction and poetry, two
genres which rely on the written or spoken words as their primary means of
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expression. The dramatic or performing arts, however, combine the verbal with a
number of non-verbal or optical-visual means, including stage, scenery, shifting
of scenes, facial expressions, gestures, make-up, props and lighting. This
emphasis is also reflected in the word drama itself, which derived from the Greek
dra i
to do or to a t , there
referri g to a perfor a e or presentation by
actors.
The ancient Greek philosopher Aristotle, who laid the foundations for the
critical studies of drama, divided the elements of drama into plot, character,
thought, language, and spectacle.
FILM
In the end of the twentieth century, it is impossible to neglect film as a semitextual genre both influenced by exerting influence on literature and literary
criticism. In spite of their differing forms and media, drama and film are often
categorized under the heading performing arts because they use actors as their
major means of expression. The visualization of the action is not left merely to
the imagination of a reader, but rather comes to life in the performance,
independent of the audience. In both genres, a performance (in the sense of
visual representation by people) stands at the centre of attention. It is
misleading, however, to deal with film exclusively in the context of drama, since
categorizing it under the performing arts does not do justice to the entire genre,
which also includes non-narrative subgenres without performing actors.
Film is very close to drama. The stage of drama performance is specially
set up, and so is the stage of a film, though film covers a wider and looser space.
However, when discussed in terms of its product, film can be regarded as a
written text, and may consequently be enjoyed and treated as a prose fiction. In
analyzing a film, there a three major parts that must be considered as the
following:
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1. Plot
2. Archetypal elements
a. Setting
(1) The waste land. A place where nothing is growing. It is not a beautiful place.
That is why it is usually parts of the journey but not for the destination.
(2) The garden. In contrast with the wasteland, It is a place of perfection. It is
not dangerous and not artificial.
(3) The wilderness. It is a balance place between the garden and the wasteland.
It represents the unknown place (Narnia).
(4) The underworld/ hell. It is a bad place.
(5) The castle. It is a place for protection. It can be good or bad based on the
character who is leaving in it.
(6)The crossroads/ doorway. A place that is so different. Any time you open it, it
is about choice and change (wardrobe in Narnia)
(7) The suburbia. A more modern place in which we can find a unique or
different thing in it. Everything is in the same figure, lack of individualism.
(8) Paradise. A perfect place.
b. Symbols
A symbol is a person, place, or thing comes to represent an abstract idea or
concept -- it is anything that stands for something beyond itself.
c. Character
The character archetype is divided into:
HERO
(1) The alpha male. He usually represents the character of prince charming and
the only one (James Bond, Sherlock Holmes),
(2) The lost soul, the guy who is reluctant to do/ to act . He is usually the chosen
one as it is his destiny (Harry potter, Frodo in Lord of the Rings),
(3) The charmer, he is good-looking, persuasive, attractive person, being able to
manipulate and make a trick (Robin Hood, Leonardo in Catch Me if you Can).
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(4) The professor. The intellect, he is using his intelligence (mind) to solve the
problems (Mc Gyver),
(5)The best friend. He is usually a nice guy who is willing to do what it takes,
come along together (Sam in Lord of the Rings),
(6) The everyman. Accidentally becomes a hero. Normally he is an ordinary and
normal boy, not particularly attractive, not particularly strong, but he can be
a hero (Peter Parker in Spiderman, Forrest Gump).
(7) The sidekick/henchman. (please define)
(8) The guide. (please define)
VILLAIN
(1) The tyrant. Somebody who has manipulated his environment. He usually
controls everything.
(2) The Bastard/ Outcast. Feels like they have not given what they deserve. They
usually do not belong to the environment and not necessarily accepted by
society.
(3) The Mad Scientist. Bad professor who use his intelligence, science, and
technology to win over something.
(4) The sadist. Insist to be bad. Not about ideology or reason but it is only about
being bad, pure evil. They do not only kill but also hurt.
(5) The terrorist. Doing something bad because he wants to get the money or
something
WOMAN
(1) Madonna/Ingenue. Weak, girly, and becomes an object of struggle between
the hero and the villain.
(2) The tomboy. Active female character, not particularly pretty and girly but a
fighter. And quite strong. She can hold everything by herself.
(3) The temptress. A woman who is able to tempt someone.
d. Conflict
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There are four kinds of conflict: (1) man against himself, (2) man against
man, (3) man against nature, and (4) man against society.
Practice
Watch the following films:
1. Narnia: Lion, the Witch, and the Wardrobe (Writing response: what two
different archetypes do you think Edmund fits into best?)
2. The Terminal (Writing response: what archetypal setting does it have?)
3. Other Boley ’s Girls (Writing response: To what extent is the film
tragedy?)
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REFERENCES
Corrigan, Timothy. 1998. A Short Guide To Writing About Film. Third Edition.
Longman
Haryanti, Rahayu Puji. 2008. Introduction to Literary Studies 1. Handout.
Hatlen, Theodore W. 1962. Orientation to the Theatre. New York: Meredith
Publishing Company
Kenney, William. 1966. How to Analyze Fiction. New York: Monash Press
Kinsella, Kate et al. A tigo e i Literature: Timeless Voices, Timeless
Themes. 2002. New Jersey: Prentice Hall
Klarer, Mario. 1999. An Introduction to Literary Studies. London: Routledge
Perrine, Laurence. 1969. Sound and Sense: An Introduction to Poetry. New
York: Harcourt, Brace, and World Inc
White irds, Mar . Ta-Na-E-Ka i Being People: An Anthology for Non-Native
Speakers of English. Edited by Thomas Kral. Washington DC: United
States Iinformation Agency.