CHAPTER II THEORETICAL FRAMEWORK
A. Genetic Structuralism The intellectual life of Europe during the 1960s was dominated by structuralism.
Structuralism examines the underlying structures in a text, the linguistic units in a text
and how the author conveys meaning through any structures.
6
Structuralists consider that individual actions and utterances have no meaning apart from the signifying systems
which generate them. However, Structuralists tend to regard these underlying structures as timeless and self regulating systems.
7
Lucien Goldmann, a Romanian theorist based in France, considers structuralism theory is not relevant to analyze literature works. He rejects the idea that texts are
creations of individual genius and argues that they are based upon ‘trans-individual mental structures’ belong to particular groups classes.
8
The immediate philosophical precursors of Goldmanns structuralist method are the Marxism of the early George Lukacs and tile genetic psychology and epistemology of
Jean Piaget. However, the intellectual roots of the model extend deep into 19th century German idealism, especially that of Kant and Hegel. In fact, the methodological and
epistemological presuppositions of genetic structuralism can be explicated most clearly in terms of Lukacs and Goldmanns revision of Hegels interrelated notions of totality and
6
http:www.wikipedia.orgwikiLiterary_theory accessed on February 27,2009
7
Peter Widdowson and Peter Brooker. A reader’s guide to contemporary literary theory, 4
th
edition . Edinburgh: Prentice Hall, 1997 p. 105.
8
Ibid.
identity. By synthesizing the Marxism of George Lukacs and the Structuralism of Jean Piaget, he called his theory Genetic Structuralism.
Through the explanation above that Genetic Structuralism is criticism that using intrinsic elements and extrinsic elements. So that, Genetic Structuralism is one of the
Sociological criticisms. And yet, there are many differences with any others Sociological approach. Firstly, genetic structuralism still holds in the value of structure in literary
works. Secondly, an author, as an individual, tries to emerge world view to his or her collective subject.
9
There are three foundations of Genetic Structuralism: 1. Human Facts
Human facts is the way human to express his or her life verbally or physically that may be understood from scientific study
10
. Hypothesis that all human behavior is an attempt to give a meaningful response to a particular situation and tends, therefore, to
create a balance between the subject of action and the object on which it bears, the environment. Human behavior transforms the world and in which this transformation
renders the old equilibrium inadequate and engenders the tendency to a new equilibrium that will in turn be superseded
11
. Thus, human realities are presented as two-sided processes: destructuration of old
structurations and structuration of new totalities capable of creating equilibria capable of satisfying the new demands of the social groups that are elaborating them
12
. Human facts, whether economic, social, political, or cultural, involves an effort to explain those
9
Jabrohim. Metodologi Penelitian Sastra. Yogyakarta: Hanindita Graha Widya, 2002 p. 59
10
Faruk. Pengantar Sosiologi Sastra. yogyakarta: Pustaka Pelajar, 1994 p. 12
11
Trans. Alan Sheridan. “Lucienn Goldmann” the Genetic Structuralist Method in the History of Literature.
2000, April 10, 2009. p. 156. www.rlwclarke.net
12
ibid
processes by uncovering both the equilibria which they are destroying and those towards which they are moving.
2. Collective Subject Complexity of the psychology of individuals derives from the fact that each of
them belongs to a fairly large number of different groups familial, occupational, national, friends and acquaintances, social classes, etc. and that each of these groups acts
upon his consciousness thus helping to form a unique, complex, and relatively incoherent structure, whereas conversely, it can be said large number of individuals belonging to one
and the same social group, the action of other different social groups to which each of them belongs and psychological elements due to this membership cancel themselves out,
and they have confronted with a much simpler, more coherent structure
13
. Goldmann does not make an issue of the discoveries of Freud: individual psychic
life certainly has components of the libido, and a libidinal dimension is present in every individual human behavior. However, the meaning and origination of historical acts, the
control over nature, and the creation of culture can only be explained on the basis of a collective, or rather trans-individual subject. This in turn should not be confused with
collective subject a collective consciousness that would situate itself outside of or beside individual consciousness; rather, it designates human groups, collectivities in
which human beings think and act together
14
.
13
ibid
14
Suzanne Vromen. “Theory and methods -- The Wager of Lucien Goldmann: Tragedy, Dialectics and a Hidden God by Mitchell Cohen”,
Contemporary Sociology . Vol. 24. April 10, 2009, p. 417.
www.questia.comlibrarybook
This dialectical conception of the historical subject is as much opposed to individualist visions of the world as it is to those which, like structuralism, eliminate the
subject from theory. 3. World View
Goldmann Summarizes there is homology between structure of literary work and structure of society. Because both of these structures are products of the same of
structure activity. However, the relationship is not direct relation. Due to an author as an element of structure of literary work has total freedom to the reality of the structure of the
society, this relation is called worldview. According to Lucien Goldmann as quoted by Elizabeth and Tom Burns.
If a creative worker can create significant, coherent and unified world in his work, it is because his starting point is this collective working out of rough categories
and of the connection between. What he does is to take them much farther than the other members of the group have, but only within the world he has created, I
must add also that this tendency to transcendence-which is part of human action, and which has been the subject of classical philosophy
15
. Through the explanation above, The great writer is precisely the exceptional
individual who succeeds in creating a given domain, that of the literary work, an imaginary, coherent, or almost strictly coherent world, whose structure corresponds to
that towards which the whole of the group is tending; as for the work, it is, in relation to other works, more or less important as its structure moves away from or close to rigorous
coherence. A great writer is able to crystallize worldview in a lucid and coherent form. This
is why genetic structuralism theory more effective in dealing with the masterpieces of world literature. Such work represent the expression of world views, that is to say, slices
15
Elizabeth and Tom Burns. Sociology of Literature and Drama. Harmondsworth: Penguin, 1998 p. 119
of imaginary or conceptual reality, structured in such a way that, without it being necessary to complete their structure in essence, one can develop them into overall
worlds. Worldview is an abstraction; it will reach the concrete shape in literary work.
Worldview is no a fact, it has no objective existence; it is only as theoretical expression of condition and real importance of certain social literature. Goldmann calls this
worldview as a shape of collective group’s consciousness that unite single individual to be a group that has collective identity.
Worldview is an appropriate term for the complex of mind and aspiration. World views are perpetually being constructed and dissolved by social groups, as they adjust
their mental image of the world in response to the changing reality before them
16
. So that, it can be said that the meaning of worldview as a united of aspiration, mind that are
developed in the collective subject that has been created social reflection in the certain community.
Genetic structuralism will find the meaning of literary work by investigating the internal and external structure, and seeing the literary work as implication of the real
social life. For more details, it can be seen from the picture below.
Intrinsic elements
Extrinsic elements
16
Peter Widdowson and Peter Brooker. 1997, loc. cit. Collective subject
World view
B. Intrinsic Elements Intrinsic Elements are elements that build the structure of literature without
analyzing extrinsic elements that creates literature works. There are 5 elements in intrinsic elements: plot, theme, character, setting and point of view.
The presence of the characters in a story is crucial, it is one of the elements which can not be eliminated from a fiction work literature, even in the film. Film speaks in a
language of the senses. Its flowing and sparkling stream of images, its compelling and natural rhythms , and its pictorial style are all part of this non verbal language. So it
follows naturally that the aesthetics quality and dramatic power of the images are extremely important to the overall quality of a film
17
. Through the explanation above, the writer may conclude that a film can not be
separated from the images. Because Like the drama, film communicate visually and verbally. It can be said visual is through action and gestures of the characters, and it can
be said verbal is through dialogs of the characters. To make it easier in analyzing Slumdog Millionaire,
the writer will only analyze the main character through the dialog that is written on the script.
1. Characters Characters are the fictional people who are part of the action of a literary work
18
. To stay interested in a film, a novel, a short story, or a play, the viewersthe readers must
find the characters interesting some way. Some characters fascinate people by being very
17
Joseph M. Boggs and Dennis W. Petrie. The Art of Watching Films California: Mayfield Publishing Company, 2000 p. 111
18
Judith A. Stanford. Responding to literature. New York: McGraw Hill. 2003, p. 1173
different-by living in a distant place or a time long past or by being wildly glamorous or consummately evil. Sometimes characters may capture people minds and hearts whom
they can relate to. The characters may face circumstances similar to people’s act in ways that make their feel as though they are looking in the mirror.
2. Varieties of Character Joseph M Boggs and Dennis W. Petrie divide the types of characters as follows:
a. Stock Characters and Stereotypes Stock characters are minor characters whose actions are completely predictable or
typical of their job or profession. They are in the film simply because the situation demands their presence. Stereotypes, however, are characters of some what greater
importance to the film. They fit into preconceived patterns of behavior common to or representative of a large number of people, at least a large number of fictional people.
19
b. Static Versus Developing Characters Static characters remains essentially the same throughout the film, the action does
not have an important effect on their lives as might generally be the case with the hero of an actionadventure film. Or they are insensitive to the meaning of the action and thus
are not capable of growth or change. Developing characters are deeply affected by the action of the plot internal, external, or both and undergo some important change in
personality, attitude, or outlook on life as a result of the action of the story. The change they undergo is an important, permanent one, not just a whimsical shift in attitude that
19
Joseph M. Boggs and Dennis W. Petrie 2000, op. cit. 58.
will change back again tomorrow. The character will somehow never be the same person he or she was when the action of the film began.
20
c. Flat Versus Round Characters Flat characters are two-dimensional, predictable characters who lack the
complexity and unique qualities associated with psychological depth. They often tend to be representative characters types rather than real flesh-and-blood human being. Unique,
individualistic characters who have some degree of complexity and ambiguity and who cannot easily be categorized are called round characters or three-dimensional-
characters.
21
3. Description of Characterization As explanation above that a character is a person in literary work, meanwhile
characterization is the way in which a character is created. Characters are all the products of characterization, that is to say, they have been made in a particular way. It can be said
that characterization is a method and character is a product of the method. It can not be denied in analyzing a character in a story, characterization is the essential part of
character, because it is how the author describes and develops the disposition of a character in the story. There are six methods to understand the characterization:
a. Characterization Through Appearance.
20
Ibid. p. 59.
21
Ibid. p. 60.
A director usually gives the first impression to the characters through their appearance. It can be revealed the character either good or bad, poor or rich protagonist
and antagonist and others, by looking at the characters’ appearance. b. Characterization Through Dialogue.
Character in a fictional film naturally reveal a great deal about themselves by what they said, but a great deal is also revealed by how they say it, their true thoughts,
attitudes, and emotions can be revealed in subtle ways through word choice and through the stress pitch, and pause patterns of their speech. Actors’ use of grammar, sentence
structure, vocabulary, and particular dialects reveal a great deal about their characters’ social and economic level, educational background and mental process.
c. Characterization Through External Action. Although appearance is an important measure of a character’s personality,
appearances are often misleading. Perhaps the best reflecting of characters are person’s actions. It must be assumed of course, that real characters are more than just instruments
of the plot, that they do what they do for a purpose, out of motive that are consistent with their personality. Thus, there should be a relationship between a character and his or her
actions; the action should grow naturally out of the character’s personality.
d. Characterization Through Internal Action. Inner action occurs within characters’ minds and emotions and consists of secret,
unspoken thoughts, day dreams, aspirations, memories, fears, and fantasies. People’s hopes, dreams, and aspirations can be as important to an understanding of their character
as any real achievement, and their fears and in securities can be more terrible to them than any real catastrophic failure.
e. Characterization Through Reactions of Other Characters. The way other characters view a person often serves as an excellent means of
characterization. Sometimes a great deal of information about a character is already provided through such means before the character first appear on the screen.
f. Characterization Through Choice of Name One important method of characterization is the use of names possessing
appropriate qualities of sound, meaning or connotation, this technique is known as name typing.
C. Extrinsic Elements 1. Socio-historical background
The economy of India is the twelfth largest
economy in the world by market exchange rates
and the fourth largest
by purchasing power parity
basis. India
was under social democratic
based policies from 1947 to 1991
22
. The economy was characterized by extensive regulation
, protectionism
, and public ownership, leading to pervasive
corruption and
slow growth . Since 1991,
continuing economic liberalization has moved
the economy towards a market-based system
. A revival of economic reforms and better economic policy in 2000s accelerated Indias
economic growth rate .
Indias economic history can be broadly divided into three eras, beginning with the advent of British colonization started the colonial period in the 17th century, which
22
www.wikipedia.comwikieconomy of india Accessed on June 3, 2009
ended with independence
in 1947. The second period stretches from independence in 1947 until 1991 and the third period stretches from 1991 until now
23
. The economic policies of the
British effectively bankrupted Indias large
handicrafts industry and caused a massive drain of Indias resources. Indian Nationalists employed the successful Swadeshi movement in the year 1906, as strategy to diminish
British economic superiority by boycotting British products and the reviving the market for domestic made products and production techniques
24
. After India got its independence in the year 1947, India inherited an economy that
was one of the poorest in the developing world, with industrial development stalled, agriculture unable to feed a rapidly growing population, India had one of the worlds
lowest life expectancies
, and low rates for literacy
. This is because the government attempted to close the Indian economy to the outside world. India also operated a system
of central planning for the economy, in which firms required licenses to invest and to develop.
In the year 1991, Prime Minister Narasimha Rao
along with his finance minister Manmohan Singh
initiated the economic liberalization of 1991
. The reforms did away with investment, industrial and import licensing and ended many public monopolies,
allowing automatic approval of foreign direct investment
in many sectors Despite robust economic growth, India continues to face many major problems.
The recent economic development has widened the economic inequality
across the country. Despite sustained high economic growth rate, there were many people lived in
23
Ibid.
24
Richard Allen and Harish Triverdi. Literature and Nation Britain and India 1800-1990. London: Routledge, 2000 p. 286.
poverty. It is because economic liberalization creates the gap between rich and poor are farther than before. Moreover, there is a caste system that does not give permission to
someone who come from lower caste to get higher caste. The government of India tried to renew regulation about caste system to mobilize Indian society through the constitution
in the year 1950
25
. However, caste system had already rooted in Indian society. It can be seen from the fact that the villagers still persist this tradition, and yet caste system almost
vanish in the city. 2. The Biography of Danny Boyle
Boyle was Born on Oct. 20, 1956 in working-class Manchester, England, he was raised by his working-class, Irish Catholic parents who immigrated to England from
County Galway, Ireland. Despite their blue collar background, his parents encouraged the young Boyle to indulge in his imagination, which he did through watching films
26
. Meanwhile, until the age of 13, Boyle believed that he would become a priest, but
a local clergyman convinced his parents to make him wait until was he was 18 for a decision. By the time he reached that age, Boyle had moved on to wanting to direct. After
completing secondary school at Thornleigh Salesian College, Boyle attend the University of Wales, where he studied English and eventually left without his degree to direct at the
Joint Stock Theatre Company, a politically-themed company known in Britain for being controversial as well as for producing cutting-edge plays
27
. He was known as a director who adapted the film from the novel, in the year
1996, he directed Trainspotting, which adapted from the novel by Irvine Welsh, a tragic comic look at the drug infested underworld of contemporary Scotland. Boyle established
25
Tony S. Rachmadie, Negara dan Bangsa edisi 7 jilid 2. Jakarta: Grolier International, 2003 p.113
26
www.yahoo.commovieDanny Boyle Accessed on June 3, 2009
27
ibid
a unique visual style that matched a hard to define film about a group of heroin addicts in an economically depressed Edinburgh.
In the year 2000, Boyle directed The Beach, the adaptation of Alex Garland’s novel, that described about the exploits of an American traveler in Thailand looking for a
secret island inhabited by marijuana farmers. And in the year 2008, once again Boyle directed Slumdog Millionaire, a film that was adapted from the novel Q A that was
written by Vikas Swarup. Even though the novel talked about the social life in India, Boyle succeeded in
adapting this novel to the film. As a British, he became the outsider in seeing India, meanwhile, as an Irish who inherited blood from his parents, he tried to become an
insider in seeing India. It can not be denied that between Ireland and India had been colonized by Britain. Irish nationalism contested British English cultural hegemony in
the nineteenth century just as much as Indian nationalism was later to contest the dominance of those same forces in India
28
. In addition, the condition between them are not so much difference after got their
independence. In Ireland it can be found the riot between Catholic and Protestant were commonly happened in there. Boyle’s childhood ever got this bitter experience so that
was why he believed to become a priest when he was teenager. This condition is similar to India, the riot between Moslems and Hindus is often happened in there. In the
consequences of that, Boyle was the right man for directing this film because India is likely to be another Ireland.
28
Richard Allen and Harish Triverdi. 2000, op. cit.78.
CHAPTER III RESEARCH FINDINGS
Kategori