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f o y d u t s e h t s n r e c n o c t I . y d u t s s i h t n i d e y o l p m e s a w h c a o r p p a l a c i g o l o h c y s p . e l g g u rt s s ’ e n o e m o s a e r d n A , s i s y l a n a e h t n o d e s a

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e vrionment .Secondly ,i tdeal swtih he rdream .Therefore ,Andrea carire sou t d n a e v i s n e p x e g n ir a e w d n a g n i y u b s i t s ri f e h T . e l b a n o i h s a f e m o c e b o t s y a w e m o s . t n e m n o ri v n e e c if f o e h t o t fl e s r e h g n it s u j d a s i t s a l e h t d n a , s e s s e r d e l b a n o i h s a f

Thiss tudycanbeappiledtoeducaiton . tIisr elatedt oAndrea’sf ashions tyle t s A . e l b a n o i h s a f e b o t g n i g n a h

c eacher saresuggested t odres sast heyshould be . e h T . s g n i h t ll a n i s t n e d u t s e h t o t s l e d o m e l o r d o o g e b o t d e t s e g g u s e r a s r e h c a e T y lt n e c e d e b t s u m s s e r d y e h t y a

w and nealty .Student sarealso suggested t o dres s e h t o t t p a d a o t e l b a e b t s u m s t n e d u t s d n a s r e h c a e t h t o B . y lt a e n d n a y lt n e c e d s i tI . s s e r d y e h t y a w e h t t n e m n o ri v n e n o it a c u d

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b tieratur , setra sumbe r dar i interne t yang n a h o k o n e p n a d h o k o t ir o e T . i n i a s il a n a k u t n u g n u k u d n e m g n a y a t a d n a k a i d e y n e m n a h u t u b e k , i s a v it o m i r o e T . a m a tr e p n a h a l a s a m r e p b a w a j n e m k u t n u n a k a n u g i d n u n a k a n u g i d p u d i h n a g n a u jr e p n a d , n a i a k a p l o b m i s , a i s u n a m r a s a

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a n e r a k i n i i s p ir k s m a l a d n a k p a r e ti d i g o l o k i s p n a t a k e d r e P . a u d e k n a h a l a s a m r e p . a y n n a u j u t i a p a c n e m g n a r o e s e s n a g n a u jr e p t u k g n a y n e m n a k r a s a d r e

B anailsa ,Andrea adalah wantia yang bergaya pakaian itdak a jr e k e p , r a b a s , n e m ti m o k r e b , n a it a h r e p , s i d o

m keras ,dan pemberani .Selanjutnya a e r d n A n a k b a b e y n e m g n a y n a s a l a a u d a d a a w h a b n a k k u j n u n e m a g u j a s il a n a h a l a d a a u d e k g n a y n a d , a y n a jr e k t a p m e t n a g n u k g n il n a a d a e k , a m a tr e P . g n a u jr e b h i b e l g n a y a ti n a w i d a j n e m k u t n u a r a c a p a r e b e b n a k u k a l e m a e r d n A . a y n i p m i m

modis .Petrama ,Andreamembel idan memaka ihanyabaju-baju yang maha ldan n a g n e d a y n r o t n a k n a g n u k g n il n a g n e d i ri d n a k i a u s e y n e m a e r d n A , a u d e K . s i d o m .s i d o m h i b e l n a i a k a p r e b n a g n e d t i a k r e t i n i l a H . n a k i d i d n e p a i n u d m a l a d n a k p a r e ti d t a p a d i n i i d u t S g n a h a b u r e

p aya berpakaian Andrea menjad imodis .Sebaga iguru ,disarankan k u t n u h o t n o c i d a j n e m n a k p a r a h i d u r u G . a y n it s e m a n a m i a g a b e s n a i a k a p r e b k u t n u . n a p o s n a d s a t n a p h a l s u r a h a k e r e m n a i a k a p r e b a r a C . l a h a l a g e s m a l a d a y n d ir u m a i a k a p r e b k u t n u n a k n a r a s i d a g u j n u p d ir u

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y t e i c o s n i r a e p p a t a h t s g n i h t e l b a u l a v y n a m n i a t n o c y a m l e v o n A . s m e l b o r p

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t n a s a e l p g n i h t e m o s s e m o c e

b to enjoy because i trepresent sthe realtiy o flfie o r a

m s r e d a e r e h t h c i h w n i n o it a n i g a m i s ’ r o h t u a e h t n i g n i h t e m o

s y havea wish t o

e fi l s ’ r o h t u a e h t n o s d n e p e d t I . s u o ir a v s i f l e s ti n o it a n i g a m i e h T . ti e c n e ir e p x e

s e c n e ir e p x

e in the realtiy tha tin lfuences wha tkind o fimaginaiton i tis .The a

s i e l p m a x

e novelwhichtell sabou tfashionwo lrd.I tdepict swha tpeopledressi n c

a etrainpe irodo f itme ,peoplewhochanget heyf ashions tyle ,etc.

Judyand Joan( 1976) statet hat ”fashion ha sal ott o doin f risti mpression . u j n i a r b e h t e r o f e b e y e e h t y b d e b r o s b a e u l c t s ri f e h t s i n o i h s a f r o g n i h t o l

C dges ’

n o i h s a F . n o i s s e r p m i t s ri

f becomest he most i mpo trant facto ro ffristi mpression” .

p

. s e ir o s s e c c a e h t d n a , e l y t s r i a h , s e o h s , s e h t o l c s a h c u s y lt c e ri d s r e h t o y

b tIi sclea r

p o e p d n a t n a tr o p m i y r e v s i n o i h s a f t a h

t lekeep rtyingt obefashionable .Fashioni s n

a m u h g n ir e v o c t s u j n a h t s n o it c n u f r e p e e d s a h t i e s u a c e b t n a tr o p m i y r e

v body .I t

n a

c representt hef ris tclueo fsomeoneabou thi so rhercharacteirsitc ,s hi so rher s

b o

j ,etc .Moreover ,Eilzabeth Wlisonstatest h “a t fashion i sadressi nwhich the e

l y t s f o g n i g n a h c l a u n it n o c d n a d i p a r s i e r u t a e f y e

k and a method o fsefl -e

r p x

e ssion”(a sctied i nChery landHillary ,2002 ,p .4) .Formelry, f ashion mean s y

d o b n a m u h f o r e v o c a t s u

j .Nevetrheless , ti represents t he style and even from n

o i h s a

f people can see the presitge nowadays. Fo rexample, a man who wears s

e h t o l c d e g g a

r si assumed tha thei sahomeless. Wherea swhenamanwhowears ,

ti u s r e p p a d y r e v

a forma lshoes ,and forma lbag is assumed tha the work sin .

t a h t f o d n i k r o O E C s a y n a p m o c

a d a r P s r a e W l i v e D e h

T i sone example o fthe nove lwhich tell sabou t s

’ e n o e m o

s srtuggle fo rbecoming fashionable .Thi snove li svery interesitng w

o h s ll e t ti e s u a c e

b themaincharacter ,AndreaSachs ,moitvate sherseflonbeing e

l b a n o i h s a

f and srtuggle son t hat .Thenoveltell sabou tAndreaSach swho work s n

i a fashion magazinecalled Runway Magazine .She i san assistan to fMrianda f

o r o ti d e n a , y lt s e ir

P the Runaway Magazine .Andrea i sno ta styilsh woman s

e o d e h S . e n i z a g a M y a w a n u R n i g n i k r o w e r o f e

b on tr eailzet ha twhen workingi n n

o i h s a f e b o t s a h e h s , d lr o w n o i h s a

f able .Thismeanst ha tshewli lbecomeapar t s

i h t f

o .Mos to fhe rpreviou sassistants canno tstep ove rthe conrtac ta year e

s u a c e

b fo the insanity o fthe work .Due to her srtong moitvaiton ,she can do c

if f o r e h n i e l b a n o i h s a f g n i e b g n i d u l c n i g n i h t y n

l g g u rt

s e ofbeing fashionable she face sa l o to fproblem sbu tsheneve rgive sup .

n o it a v it o m r e h f o e s u a c e b

Thi snoveli sveryi ntirguingt odiscussespeciallyaboutt hemoitvaitonand e

l b a n o i h s a f e b o t r e t c a r a h c n i a m e h t f o e l g g u rt

s .The reason i stha tin r eal lfie s

e c n e ir e p x e e v a h e l p o e

p inchangingf ashion style .Thereareal o tofr eason swhy e

s u a c e b s i tI . e l y t s n o i h s a f e h t e g n a h c e l p o e

p fo thei rowndesrief o rchange ,n ew g

n i k r o w , y t e i c o s e h t ,t n e m n o ri v n

e demands ,demand so fco llege ,change of l fie , F

. c t

e ashion style tisel fi sso interesitng to be discussed because i trepresent s .

y t u a e

b Fashion style i sdynamic . tI changes yb the itme .Thi snove lcontain s a

e r d n

A whoi sno tstyilsh i nhe rdaliyl fiechanginginto f ashionable .Thechange s

n e p p a h f l e s

ti because she want sto reach he rdream. Fashion become svery r

o p m

i tan tfo rsomeone because fashion represent ssomeone’ s characteirsitc .By n

a c e l p o e p , e l y t s n o i h s a f s ’ e n o e m o s g n i w o n

k measure someone’ scharacte irsitc. e

s u a c e b t n a tr o p m i s i h c r a e s e r s i h t , ll a r e v

O na alyzing someone’s srtuggle in s

i s m a e r d r e h g n it t e

g challenging.

.

B ProblemFormula iton

To keep the analysi son rtack ,two problems are formulated in form o f .

w o l e b d e n o it n e m s a s n o it s e u q

.

1 HowareAndreaSachs’characterisitcsdepictedi nt henovel? s

e o d w o H .

2 Andrea Sach srtuggle fo r becoming fashionable in Lauren s

’ r e g r e b s i e

.

C Objecitve soft heStudy

m e l b o r P n i s n o it s e u q o w t e h t r e w s n a o t e r a y d u t s e h t f o s e v it c e j b o e h T

. n o it a l u m r o

F The study ha stwo objectives .The fris tobjecitve i sto ifnd out ’

s h c a S a e r d n

A characterisitcs .Thesecond objecitvei st o i dentfiy Andrea Sachs ’ .

e l b a n o i h s a f g n i m o c e b r o f e l g g u rt s

.

D Benefti soft heStudy

y ll u f e p o

H the reader scan gain some benefti sfrom thi sstudy. riF st ,by e

h t y d u t s s i h t g n i d a e

r readers can understand more abou thuman moitvaiton and o s l a n a c l e v o n s i h t , d n o c e S . s m a e r d g n i h c a e r n i m e h t e t a v it o m y ll a e r t a h w o s l a

, d ri h T . m a e r d r i e h t g n i h c a e r n i e l g g u rt s o t w o h s r e d a e r e h t h c a e

t the reade rcan

t w o h n r a e

l owear irgh tclothesi nt he irgh tplace.I nt heotherword,t heycanl earn r

a e w o t w o

h fashionpropelry.

tIi salso hopedt hatthi sstudy can bebene ifcialf o ral lstuden to fEngilsh P

n o it a c u d E e g a u g n a

L rogram who want sto take the same study about human s

n i a t n o c y d u t s e h T . e l g g u rt

s et h message and also t he srtuggle of t he character . . e l b a n o i h s a f f o g n i n a e m e h t d n a t s r e d n u d n a e e s n a c o s l a y e h t y d u t s s i h t m o r F

r a e l o s l a y e h

T nf romt hemaincharacte rhowwea rclothe spropelrya sas tuden to f L

h s il g n

E anguageEducaitonProgram.

Fo rEngilshteachers , tii shopedthenove lwli lbeusefulf ort eachingand s

a f g n i e b n o it a v it o m h ti w s l a e d y d u t s s i h t s A . s e it i v it c a g n i n r a e

l hionable , ti wli l i

h c a e t n i l a ir e t a m g n it s e r e t n i n a n g i s e d o t s r e h c a e t e h t p l e

h ng and help them to ’

s t n e d u t s h c ir n

e w iritng skli l and vocabulaires . Thi s study wli lprovide the s

r e h c a e

.

E De ifniitono fTerms

s m r e t y e k e r a e r e h

T tha tare considered impo tran tin thi sstudy .Thi s a

s m i a s n o it c e

s tproviding clea rdeifniiton o fsome term sused in thi sstudy in .

g n i d n a t s r e d n u s i m d i o v a o t r e d r o

The frist term i ssrtuggle .Abate (1996 )deifne stha tsrtuggle i smaking d

e n i m r e t e d r o t n e l o i

v effor tunde rdfiifculites .Srtuggle mean swe have t o work t n a w e w t a h w n i a g o t r o s m e l b o r p e v l o s o t t n a w e w n e h w t r o f f e e m o s o d d n a d r a h

. s e v il r u o n

i People have to srtuggle fo rthei rlfie because lfie i sno teasy fo r y

a d y r e v e g n i g n a h c d n a n a m u

h (p .1541) . m

r e t d n o c e s e h

T si fashionable .According to Wlison fashionable i sa f

o g n i g n a h c l a u n it n o c d n a d i p a r s i e r u t a e f y e k e h t h c i h w n i n o i h s a

f style(a sctied )

4 . p , 2 0 0 2 , y r a ll i H d n a l y r e h C n

i .In thi sstudy fashionable i sdeifned a sthe t

s e w e

n fashion style .I talso refer sto kind so ffashion that have to be used by h

c a S a e r d n

7 R E T P A H

C I I

D E T A L E R F O W E I V E

R LITERATURE

r e t p a h c s i h

T dealswtiht heoreitcalr eviewandt heoreitcalf ramework . The f tri trs pa , et h theoreitcalr eviewwillr eviewr elatedt heo irest ha tareusefu landpu t

s i s y l a n a e h t f o s i s a b

a .T hissecitoni sdivided i nto ifvepatrs .Thef ris tparti st he h

t eoryo fciritca lapproach ofltierature. Thesecondpa tri st het heoryofcharacte r n

o it a z ir e t c a r a h c d n

a . Thet hrid patri st he t heory o fmoitvaiton .Thefo trh patr i s f

o y r o e h t e h

t clothing and the las ti sthe theory o fsrtuggle .The second p ,atr s

n i a l p x e k r o w e m a r f l a c it e r o e h

t the step sand how the theo ire sare appiled to c

r a e s e r e h t r e w s n

a hquesiton sproposedi nproblemformulaiton.

.

A Theoreitca lReview

m o s f o s t s i s n o c t r a p s i h

T e theo ires tha tare impo tran tto suppor tthe .

y d u t s e h t f o s i s y l a n

a These theo ire sgive valuable informaiton which i s very e

r a e s e h T . l e v o n e h t g n i z y l a n a n i l u f p l e

h theory o f psychology , theory o f

, n o it a z ir e t c a r a h c d n a r e t c a r a h

c theoryo fclothing,theoryo fmoitvait onandt heory rt

s f

o uggle.

.

1 Cri itca lApproacht oLtierature 1 7 9 1 ( s d o o W d n a r e g r e b r h o

R )in thei rbook Reading and Wriitng abou t e

r u t a r e ti

L meniton ifvet ype so fapproache swhich are used to analyze work o f e

r u t a r e ti

e r u t a

n ,funciton ,and posiitve values .One mus tknow wha tltierature i s ,how to r e d a e r e h t p l e h o t s i h c a o r p p a l a c it ir c f o e s o p r u p e h T . ti e g d u j o t w o h d n a , ti d a e r

r o t w o h g n i w o n k y b k r o w y r a r e ti l e h t f o g n i d n a t s r e d n u r a e l c a e v a h o

t ead i tand

e h t e r a s e h c a o r p p a e s o h T . s e h c a o r p p a t n a c if i n g i s e v if e r a e r e h T . ti e g d u j o t

o i c o s e h t , h c a o r p p a t s il a m r o

f -cutlural-histo irca lapproach ,biography approach , s

p d n a , h c a o r p p a a i e o p o h t y m e h

t ychology approach (pp. 6-15) .Every approach n

w o s ti s a

h focus and poin to fview .Moreover ,each approach also ha s ti sown .

s k r o w y r a r e ti l e h t g n i z y l a n a n i y a w t s e b

h g u o r h t t a h t e t a t s ) 1 7 9 1 ( s d o o W d n a r e g r e b r h o

R those approaches ,the

. y l d n u o f o r p d e c a rt e b n a c r o i v a h e b d n a t h g u o h t s r e t c a r a h

c The psychologica l

p

a proachi st heeffo trt ol ocateanddemonsrtatecetrainr ecurren tpattern sbutf rom (

y g o l o h c y s p s i t a h t e g d e l w o n k f o y d o b t n e r e f fi d

a p .13) . The psychologica l

e z y l a n a o t d e il p p a s i h c a o r p p

a TheDevi lWear sPradabyLaurenWeisberger .The psychological pap roach i sappiled to explain abou thuman moitvaiton and the

e fi l r o f e l g g u rt

s .Through t hi sapproach, t hecharacter’s moitvaiton and srtuggle e

z y l a n a e b n a

c d deeply.

h c a o r p p a l a c i g o l o h c y s

P use spsychologica larea sast hemain enrtance i n c

n i a tr e c g n i z y l a n

a haracte ,rs toryo rhabi ta smanypeoplebeilevet hehumanmind e

v e f o r e t n e c e h t s

i ryt hough tandaciton .Thi sapproachl eadst ot heexploraitono f h

t eunconsciou sof t hehuman mind, in which til eadst o t heconclusion t hatt hi s t

f o g n ir p s ll e w e h t s i a e r

a he irch man i maginaiton ,hi scapactiy fo rcreaiton and e h t f o n o i g e r e h t f o s t n e t n o c e h t t a h t d n a r o i v a h e b , t h g u o h t s i h f o y ti x e l p m o c s i h

i g o l o h c y s p e h T . n o it c a d n a , s t h g u o h t ,s d r o w c il o b m y s n i n o i s s e r p x e d n if d n i

n i e t a ir p o r p p a s i h c a o r p p

a thi sstudybecauset hi sstudydeal swtiht hemoitvaiton s

r e t c a r a h c e h t f

o o fTheDevi lWear sPradaby Lauren Weisberger. Through t hi s ,

h c a o r p p

a Andrea’smoitvaiton of r beingf ashionableandhe rsrtugglet odea lwtih t

i canbeanalyzed .He rmoitvaitonandhe rsrtuggleist hemainproblemt ha twli l e

b discussedint hist hesi .s

2 . CharacterandCharacteriza iton

Character i san i mpo tran telement i n a work of l tierature .To understand e

h t t u o b a e r o

m maincharacteri nTheDevi lWear sPrada ,tii snecessaryt or eview a

r a h c f o y r o e h t e h

t cte randcharacte irzaiton. .

a Character

A characte ri sone o ft he impo tran telement si n a novel .According to (

n a m r o H d n a n a m l o

H 1986), characteri sa b ire fdescirpitvesketch o fpersonage e

ti n if e d e m o s f o s e if i p y t o h

w quailites . The person i s desc irbed no t a s an h c u s , e p y t r o e u tr i v r o e c i o v e m o s f o e l p m a x e n a s a t u b y ti l a n o s r e p d e z il a u d i v i d n i

y p p a h a d n a , n a m d l o s u o l u r r a g a , n i k p m u b a , p o f a , n o tt u l g a , y d o b y s u b a s a

d i a m k li

m (p .81) .I tmean stha tcharacte rin ltierary work i sa person who ha s .

y ti t n e d i n a f o t r o s e m o s

Characte rplay san impo tran trole in a nove lbecause characte ri st he s

e h t f o n o it a d n u o

f tory .Robetr sand Jacob s(1989) state tha ta characte ri sa ll

a h ti w g n i e b n a m u h a f o e li m i s c a f e l b a n o s a e

r the good and bad rtati so fbeing

r e h r o s i h n i s g n i e b n a m u h t n e s e r p e r o t s r e t c a r a h c s e t a e r c r o h t u a e h T . n a m u h

e fi l l a e r n i d e c a l p e r a t a h t s g n i e b n a m u h l a u t c a e k il t s u j s i r e t c a r a h C . l e v o n

o lf e h t s t c e f f a d n a y r o t s e h t n i s e v il y ll a e r r e t c a r a h C . n o it a u ti

.) 3 6

Character saredivided i nto t wo kinds ,namely majo rcharacte rand mino r r

e t c a r a h

c . According t o Henkle(1997), majo rcharacter saret he mos timpo tran t x

e l p m o c d n

a ones in a novel .Meanwhlie ,the mino rcharacter sare those who r

o p m i s s e l m r o f r e

p tan tandl es scomplexcharacters inanovel p( p 7 . - )8 8 . 9

Fosteri nAspect soft heNovel(1974 )divide scharactersi nto lfa tcharacter s s

r e t c a r a h c d n u o r d n

a .A lfa tcharacteri sacharacte rt hatstayst he samef romt he u

g n i n n i g e

b ntlit heendoft hestorysot hi scharacte rcanbeeasliyr ememberedby s i h t e s u a c e b d e z i n g o c e r y li s a e e b o s l a n a c r e t c a r a h c s i h t , s e d i s e B . s r e d a e r e h t

a r o e s a r h p e l g n i s a n i d e b ir c s e d d n a s ti a rt o w t r o e n o y b d e z ir e t c a r a h c s i r e t c a r a h c

n u o r e h T . e c n e t n e

s dcharacte rtisefli scomplexi nt emperamen tandmoitvaiton .(p )

1 5 .

Acharacte rcanalso bepresentedetihe rdrieclty ori ndrieclty .Rohrberge r (

s d o o W d n

a 1971 )sayt hati ndriec tpresentaiton,t heautho rdriecltydescirbest he c

i s y h p s ’ r e t c a r a h

c a lappearance, i ntellectua land mora latt irbute so rexplains t he e

h t f o e e r g e

d character’ss ensiitvtiy(p .20).

In analyzing the characte rin a ltierary work ,we also need to know the t

e h t t a h t t u o d n if l li w e w , o s g n i o d y B . r e t c a r a h c e h t f o s ti a

rt rati soft hecharacte r

s ’ r e t c a r a h c e h t ,s e d i s e B . g n i e b n a m u h f o e fi l l a e r e h t f o n o it c e lf e r a s

i rtati swli l

s i h e c n e u lf n i o s l

a thoughts,s peech ,andbehavior. .

b Characteriza iton

According to Bannet ,Berman ,and Bu tro (1988 ,) there are several way s r

o h t u a n a t a h

s r e t c a r a h c r e h t o t a h w , o d y e h t t a h w , y a s s r e t c a r a h c e h t t a h w h g u o r h t ,s r e t c a r a h c

r e h t o t a h w d n a , m e h t t u o b a y a

s s dot ot hem(p .71) .

Murphy (1972 )states tha tthere are nine method sto desc irbe how an s r e d a e r e h t e k a m o t s ti a rt d n a s e it il a n o s r e p ’ s r e t c a r a h c e h t l a e v e r y a m r o h t u a

s r e t c a r a h c r i e h t d n a t s r e d n

u .Fris tmethodi spersona ldesc irp iton .Ther eader scan f

o n o it p ir c s e d a e v a

h a character by l ooking a this /he rappearance and clothes . l a c i s y h p s ’ r e t c a r a h c e h t e z il a u s i v n a c s r e d a e r e h t , n o it p ir c s e d s i h t g n i v a H

.r o l o c n i k s e h t d n a , t h g i e h e h t ,t h g i e w e h t s a h c u s s c it s ir e t c a r a h

c Secondmethodi s

characte ra sseen by t heothers. eT h autho rdesc irbe sacharacte rby using other’ s s

s i d o h t e m d ri h T . n o i n i p

o peech. eT h reader scanunderstand acharactert hrough e

v n o c r e h / s i h n i s y a s r e t c a r a h c e h t t a h

w rsaiton and in giving opinions .Fou trh l

t s a p s i d o h t e

m fi .e Theautho rdesc irbe sacharacteri n t hestoryt hrough his /he r t

s a

p lfie .By learning the character spas tlfie ,the reader sshape the character’ s o

f o n o it a s r e v n o c s i d o h t e m h tf i F . y ti l a n o s r e

p thers .The reader scan have a

d n a e l p o e p r e h t o f o n o it a s r e v n o c e h t h g u o r h t r e t c a r a h c a f o n o it p ir c s e

d thingst hey

t u o b a y a

s him /her .Sixth method i sreaciton .The autho rgive sdescirpiton son a e

t c a r a h c e h t w o h d n a t s r e d n u s r e d a e r e h t g n it t e l y b r e t c a r a h

c r react sto vairou s

c t c e ri d s i d o h t e m h t n e v e S . t n e v e d n a n o it a ir a

v omment .Thi si sthe author’ s

n e m m o c r o n o it p e c r e p l a n o s r e

p tabou t the characte rtha the creates . Eighth t

s i d o h t e

m houghts .The reader scan have the descirpiton o fa characte ri fthey o

v n i y l e v it c e j b u

s lve i n t hecharacter’st hought .Ninth method i smanneirsm. The h

g u o r h t r e t c a r a h c a s e b ir c s e d r o h t u

3 . Mo itva iton

Thi spar tconsist so ftwo term stha texplain abou tmoitvaiton .They are o

n o it i n if e

d fmoitvaitonand Maslow’ shierarchy o fneed .s uR ch ( 1967 )sayst ha t n

a m u

h behavio rcoverstwodfiferen tconcept swhicharei nterconnected .Thef ris t s

i t p e c n o

c placidtiy o rmodi ifablitiy which i sfound i n t hel earning process .The s

i t p e c n o c d n o c e

s energy which can be seen through the moitvaiton . The a

o r p p a r o s e ir o e h t e m o s g n i s u y b d e n i a l p x e e b n a c f l e s ti n o it a v it o

m ches(p .375).

Humanmoitvaitoni sveryi mpo tranti nt hi sstudybecausei ti susedt o ifnd h

c a S a e r d n A t u

o s ’moitvaitoninbecomingf ashionable .Moitvaitoni silkeadesrie .

t n a w e w t a h w g n i h t e m o s h c a e r o t ll i w a r

o Murray( 1964 )deifnest ha tmoitvation o t d e t a l e r s i n o it a v it o M . ) 8 . p ( d e n i a t b o e b o t l a o g n i a tr e c a s a h t a h t e ri s e d a s i

, g n i n r a e l s a h c u s s r o i v a h e b f o s d n i k l l a n i s e v l o v n i t i e s u a c e b r o i v a h e b

d n a g n it a e r c , g n i k n i h t , g n it t e g r o f , g n ir e b m e m e r , g n i d n e tt a , g n i v i e c r e p , g n i m r o f r e p

t I . g n il l e

f affect ssomeone speciifc behavio rtha tpush he rgetitng he rdream o r .l

a o g

h ti m S o t g n i d r o c c

A ,Irwin ,and Barbara (1977) ,moitvaiton i san i nterna l l a o g f o r o g i v d n a , e c n e t s i s r e p , n o it c e ri d e h t e c n e u lf n i n a s e v i g t a h t s s e c o r p

r o i v a h e b d e t c e ri

d (p .282) .Moitvaiton here mean stha tinterna lfacto rchange s y

a w r e h s p e e k t I . l a o g e h t g n i h c a e r n i tr o f f e n a e v i g o t l a u d i v i d n

i to achievet he

c if i c e p s n i e v a h e b o t s e ir t l a u d i v i d n i n a , o S . l a o

g behavior tt ha canb irngheri nt he f

o s s e c o r

p achievingt hegoa.l o

e r o

M v , er according to Pert i(1981), om itvaiton i sthe concep twhich si e

s

o s l a t

I meanst ha tmo itvaitoni niitate so renergizessomeonet odos omething. )

3 7 9 1 ( h s il a

K , statest ha tmoitvaitoni saconcept ,no tat hing. I tcanno tbe s n i a l p x e e H . r o i v a h e b n i a tr e c o t s u t c e ri d o t e l b a s i tI . d e h c u o t n e v e r o , d r a e h , n e e s

s e t a c i d n i d e e n A . d e e n a y b n o it o m o t n i t e s r o i v a h e b a s i r o i v a h e b d e t a v it o m t a h t

s i n o it c a f s it a s f o s e p y t e m o s t a h

t lacking and impile s tha t the organism i s .)

0 3 . p ( n o it c a f s it a s s i d e h t e c u d e r o t d e t a v it c a

4 . HumanNeeds

There are some need sto moitvate someone to do something .Masslow a

e r e h t t a h t s tr e s s

a re ifve general t ype sof need .They are physiological ,safety , s

s e n g n i g n o l e b d n a e v o

l ,esteemands efl-actuailzaitontha tmus tbes aitsifedbefore y

l h s if l e s n u t c a n a c n o s r e p

a (a sctied byFranken ,2002 ,p .15) .Maslow’s t heory t

o m f

o ivaiton sayst ha tsomemo itve ssucha spsychologicalandsafetyneeds ah ve e

b d e if s it a s e b o

t fore advancing to highe rneed ssuch a sbelonging and sefl -m

e e t s

e .Hecallst hemt hedeifciencyo fneeds .Asl ongass omeonei smoitvatedto s

e v o m e h s / e h , s g n i v a r c e s e h t y f s it a

s toward sgrowth and ifnally toward ssefl -e

h T . n o it a z il a u t c

a explanaitono feachneedwli lbegivena sthefollowi . ng

The fris tdeal swith physiologica lneeds .This i svery basicneed such a s , d e if s it a s t o n e r a y e h t n e h W . y ti v it c a d n a , x e s ,t s ri h t ,r e g n u h p e e l s , d o o f ,r e t a w , ri a

c i s f o g n il e e f e h t e v a h y a m e

w kness ,rirtiaiton ,pain ,discomfo tr ,etc.

The second concern s safety needs . This relates the securtiy , shetler , e

r

f edomf romf ea randanxiety .Someonehasto do wtihestabilshingstablitiyand o

c nsistency in a chao itc wo lrd .Everybody needs the securtiy o fa home and d n a b s u h e d u r a s a h o h w e fi w a . e .i , n o it c n u f s y d s i y li m a f a f i ,r e v e w o H . y li m a f

x e n e h t o t e v o m t o n n a

c tl eve lbecauseshe i swor ired about he rsafety, l oveand s

s e n g n i g n o l e

b needsto beaccompilshed unit lshedoe sno thaveanyfear .Safety e h t h ti w s u t r o f m o c s n o i g il e R . s u o i g il e r e b o t e l p o e p e t a v it o m s e m it e m o s s d e e n

. d lr o w s i h t f o y ti r u c e s n i e h t e v a e l d n a e i d e w r e tf a e c a l p e r u c e s a f o e s i m o r p

The t hrid deal swtih l oveand belongingnes sneed swhich aret henex ton tI

. y h c r a r e i h e h

t relates to acceptance ,affeciton ,giving , and receiving love . u o i g il e r ,s p u o r g k r o w , s b u l c : s a h c u s s p u o r g o t g n o l e b o t e ri s e d a e v a h s n a m u

H s

e n o e m o s . c t e , s g n a g , y li m a f ,s p u o r

g needs thef eeilngtog etlovedbyother ,st obe .

d e d e e n e b o t d n a d e t p e c c a

The fou trh deal swtih self-esteem need .s Maslow disitnguishest wo t ype s fl

e s e r a y e h T . s d e e n m e e t s e f

o -respec tand esteem from others .Sefl-esteem , y c a u q e d a , y r e t s a m , e c n e t e p m o c , e c n e d if n o c r o f e ri s e d s a s d e e n h c u s s e d u l c n i

n a e c n e d n e p e d n i ,t n e m e v e i h c

a df reedom .Externallydeirvedesteem canbebased , s u t a t s , n o it a ri m d a , n o it a i c e r p p a , n o it a t u p e r , n o it n e tt a , e c n a t p e c c a , n o it i n g o c e r n o

ir e t c a r a h c l l a , s s e c c u s l a i c o s r o , e g it s e r p , e m a

f sitc so fhowotherst hinkandr eact .

The if tfhdeal swtihs efl- tacuailzaitonneeds .Thisrelates ot fls -e ful ifllmen t n a c g n i h t y n a e v a h o h w e l p o e P . e c n e ir e p x e g n i h c ir n e d n a , n o it a z il a e r d n a

y e h T . y ti li b a d n a l a it n e t o p r i e h t e z i m i x a

m seek knowledge , peace , estheitc fl

e s , e c n e ir e p x

e -fulifllment ,andonenes swtihGod ,etc.

5 . Clothing

Being fashionable refer s to quailite s symboilzed by clothing style. h

t e b a z il E o t g n i d r o c c

n o i h s a f , w e i v f o t n i o

p style can be analyzed .In t hi sstudy fashionable refer sto n

a tyhingabou tclothingo rwha tpeoplewear(a sctiedi nChery landHillary ,2002 , 4

. p

p -1 C3 .) lothing does no tonly have a surface meaning such a ssomething t o s

a h o s l a t u b , y d o b e h t t c e t o r

p adeepe rmeaning .Thi sdeepe rmeaningoff ashion , h

t o l c e s a c s i h t n

i i , ng becomesclue so fsomeone’ scharacter .Jerslid state sabou t :

s a g n i h t o l c

“clothing can symboilze many impo tran tthing so f someone , such a s t

n e s e r p e r n a c t i , n o it i d d a n I . y ti t n e d i l a n o s r e

p hi spubilci mage .An aritcle

y l h g u o r o h t s m e e s h c i h w g n i h t o l c f

o objecitve in characte rmay have , fl e s f o n o it c e t o r p t n a tr o p m i n a e b y a m t I . g n i n a e m e v it c e j b u s s u o d n e m e rt

fl e s f o s n a e m

a -deifance ,o fsefl-vindicaiton ,o ri tmay be a mean so f s

r e h t o h ti w g n it a c i n u m m o

c ” (a sctiedi nHu lrock ,1974 ,p .47 .)

According to Hu lrock (1974) ,once the symboilc value so fclothing i s e h t e c u d o r p o t d e s u e b n a c s e h t o l c w o h r e v o c s i d o t s e ir t n o s r e p e h t , d e z i n g o c e r

s r e h t o n o t c e f f

e hehopest o produce .Cetrain aspect so fclothe sgiveclues t o t he m

e h t f O . y ti l a n o s r e p s ’ r e r a e

w anyquailite ssymboilzedbyclothing, t hef ollowing 7

4 . p p ( t n a tr o p m i t s o m e h t e r

a -5 0 .)

.

a Autonomy

f o l o b m y s a s a s e h t o l c e s u e l p o e

P independence .By weairng ilke wha t e c n e t s i x e y m o n o t u a e h t s ll e t ti , r a e w s t n e r a p e h t t a h w n a h t r e h t a r r a e w s r e h t

o .

.

b Desrief o ratteniton

l a s r e v i n u s i s r e h t o f o l a v o r p p a e h t n i w o t d n a d e c it o n e b o t e ri s e d e h

T . I f

i d e c it o n g n i e

b s tohaveaposiitveeffec tont heperson’ ssefl-concept ,howeve,ri t e

k a m l a v o r p p a s i d h ti w d e c it o n g n i e B . e c it o n e l b a r o v a f e b t s u

m sa person f eel

.r o ir e f n i

.

e h

T clothing mateirals ,colors ,and style shave been used to identfiy the g n ir u t c u rt s n i e l o r t n a tr o p m i n a y a l p s e h t o l C . n o it i d n o c r o , s u t a t s , e l o r s ’ r e r a e w t u o “ n a s a g n i h t o l C . s p i h s n o it a l e r l a n o s r e p r e t n i f o e r u t a n e h

t wardsigno fawayo f

a n e h W . p u o r g l a i c o s e h t n i s u t a t s s ’ r e r a e w e h t f o l o b m y s a s i ” e fi

l personwant s

. ” s n g i s d r a w t u o “ y b e ri s e d s i h s e z il o b m y s e h , p u o r g l a i c o s a h ti w d e if it n e d i e b o t . n o it c a f s it a s o g e f o e c r u o s a s i s e ri m d a e h p u o r g a o t g n i g n o l e B .

d Individualtiy

s u o i g it s e r p h ti w m e h t y fi t n e d i o t p l e h t a h t s e h t o l c e k il e l p o e p h g u o h tl A s a s s e r d d l u o h s l ri g A . y ti l a u d i v i d n i ri e h t n i a t e r o t t n a w o s l a y e h t ,s p u o r g l a i c o s n a c n o s r e p a h c u m w o H . y ti l a u d i v i d n i f o h c u o t a t s u j h ti w t u b , o d s lr i g r e h t o e h t it n e d i e b t e y d n a s e h t o l c s i h h g u o r h t fl e s m i h s s e r p x

e ifed wtih t hegroup depends

l e e f o h w e l p o e p , s t n e m g d u j e l b a r o v a f n i w o T . p u o r g e h t n i e c n a t p e c c a f o l e v e l s i h , p u o r g e h t y b d e v o r p p a s n o i h s a f e h t o t m r o f n o c t s u m s u t a t s r i e h t n i e r u c e s n i n a c y e h t h g u o h

t individuailze them to sui tthei rown body bulid so rcolo irng . l a n o s r e p g n i g r e m b u s s n a e m n e tf o e c n a l a b e l b a r o v a f s i h t g n i v e i h c

A ilke sand

n o it a t c i d e h t g n it p e c c

a oft hef ashionl eader .s .

e Success

y r e v e t s o m l a , x e s r o e g a f o s s e l d r a g e

R onewant sotherst othinkoft hem sa s e h t o l c g n ir a e w y b s s e c c u s c i m o n o c e o i c o s e z il o b m y s n a c n o s r e p A . l u f s s e c c u s h y b , s r e r u t c a f u n a m s u o i g it s e r p y b d e n g i s e d d n a l a ir e t a m r o ir e p u s f o e d a

m avinga

s e h t o l c f o r e b m u n e g r a

l o feach kind ,and by weairng only the lates tstyles . c

c u

S es scanalsos ymboilzebeingaf ashionl eade.rI fapersoncanbeas tyles ette r e g d u j e b l li w e h , p u o r g s i h n

.f SexApprop irateness l a r u tl u c f o e s u a c e

B stereotypes ,i fa person want sto be considered sex t

s u m e h , e t a ir p o r p p

a wear t he clothes t ha thi sgroup i denitife swtih hi ssex .The x

e s s ’ r e r a e

w u al approp iratenes si ssymboilzed in colo rand style dfiferences . .

e r u tl u c r u o n i e l a m e f s a n o s r e p a y fi t n e d i o t p l e h s c it e m s o C

6 . Strugglef orLfie n i e b o s l a y a m e l g g u rt

S terpreted a sperson’ ssrtategie sto protec thim ro r

e

h from problem s in lfie . Bernard (1980 ) said tha t individua l also may e h t h ti w e p o c o t m e h t e l b a n e t a h t s e i g e t a rt s t n e m e l p m i y ll a n o it a r d n a y l s u o i c s n o c

o r p e c a f e l p o e p n e h W . e fi l f o s m e l b o r p d n a s e s s e rt

s blem ,st heywli lseekf ori dea s

d n a l u f n i a p s e m it e m o s s i t i h g u o h tl A . s m e l b o r p e h t h ti w e p o c o t s e i g e t a rt s r o

. p ( g n il g g u rt s y b e fi l n i m e l b o r p e h t g n i v l o s e r f o s y a w d n if l li w e l p o e p t l u c if fi d

.) 8 1 4

l a o g r o k s a t a s i e l g g u rt s t a h t s e t a t s ) 9 8 9 1 ( e i n h c e K c

M requiirng much

t a h t l a o g e v a h y e h t e s u a c e b e l g g u rt s e l p o e P . e v e i h c a r o h s il p m o c c a o t t r o f f e

t s e t a e r g e h t e v i g l li w y e h t , e r o f e r e h T . e v e i h c a o t m a e r d e v a h y e h T . m e h t e t a v it o m

t s o m e h t n i n e v e , g n il g g u rt s m e h t s p e e k t I . s m a e r d e h t h s il p m o c c a o t t r o f f e

c if fi

d utls tiuaiton .Whenpeoplef alit or eacht hei rgoa,lt heywills rtugglef romt he h c a E . e l g g u rt s r i e h t m o r f s g n i h t e v it i s o p n r a e l n a c y e h T . e c n e ir e p x e t n a s a e l p n u

l li w s tr o f f e s i h f o l l a t a h t s e z il a e r e h e c n i s e l g g u rt s s d e e n e h t a h t s e v e il e b n o s r e p

h y f s it a

s im( p .367.)

y e h T . s u o ir a v e r a s m e l b o r p e s e h T . e fi l r u o n i r u c c o s y a w l a l li w s m e l b o r P

e l g g u rt s o t e v a h y e h t ,s m e l b o r p e c a f e l p o e p n e h W . tl u c if fi d n e v e r o y s a e e b t h g i m e k a m s n a e m e l g g u rt s , ) 6 9 9 1 ( e t a b A o t g n i d r o c c A . s m e l b o r p e h t e m o c r e v o o t t e d r o t n e l o i

v erminedeffo tr sunde rdfi ifculites .Peoplewli lmakes omeeffo tr sand .) 4 1 5 1 . p ( e fi l n i g n i g r e m e s m e l b o r p h ti w g n il a e d n i g n il g g u rt s p e e k ) 9 7 9 1 ( v o m i s A d n a r e d n i L , n u a r

B inPsychologyTodaystatet hat thereare l e s e h T . e fi l n i g n i n e p p a h s t n e v e e fi l y n a

m fieevent swillf orcepeoplet osrtuggle r o y r u j n i l a n o s r e p , e c r o v i d , e s u o p s f o h t a e d e b n a c s t n e v e e fi l e s e h T . e fi l ri e h t n i e li h w . c t e , e m o h g n i v a e l s r e b m e m y li m a f , r e b m e m y li m a f w e n a g n i n i a g , s s e n ll i , e fi l f o s e g n e ll a h c d n a s m e l b o r p e s e h t h ti w g n il a e

d people wli lneed to adjust .

o t c e p s a e n o s i s t n e v e e s e h t ll a o t t c a e r e l p o e p w o h , e r o f e r e h

T ft heproces scalled

t n e m t s u j d

a (pp . 479-480) . Moreove r according Braun , Linde r and Asimov , Adjustmen t i s a proces s o fcopying wtih events , challenges ,problems ,and

s i t n e m t s u j d a s i h T . e fi l r u o t u o h g u o r h t r u c c o t a h t s n o it a u ti s t l u c if fi

d divided into

h ti w g n il a e d n e h W . g n i v l o s m e l b o r p s i y r o g e t a c t s ri F . s e ir o g e t a c r o j a m e e r h t , e fi l n i s m e l b o r p s u o ir a v g n i c a f y B . s n o it u l o s e h t r o f k e e s l li w e l p o e p , s m e l b o r p m e l b o r p r u

o solving skli lwli lautomaitcally develop .The second category i s s m e l b o r p e h t t p e c c a o t s u r o f r e tt e b s e m it e m o s s i tI . n o it a u ti s e h t f o e c n a t p e c c a l u f e r a c e b o t e v a h e w r e v e w o H . ti r o f n o it u l o s o n s i e r e h t s a , s e c n e u q e s n o c s ti d n a t p e c c a d e r e d i s n o c n u h ti

w ance .Someitme sweaccep tconsequencest ha twecould d n a n o i s s e r p e r s a h c u s s m s i n a h c e m e s n e f e d s i y r o g e t a c d ri h t e h T . d e d i o v a e v a h d n a s s e rt s g n it a i v e ll a n i l u f p l e h y r e v e r a s m s i n a h c e m e s n e f e d e s e h T . l a i n e d . s n o it a u ti s t l u c if fi d h ti w g n il a e d e li h w y t e i x n

a Stli,lt herei sadangert oo .Overuse s e s n e f e d e s e h t f

.

B Theore itca lFramework y

d u t s s i h

T dif s n ou thowAndreaSachs ,themaincharacter, ha sdecides to e

m o c e

b a fashionable woman a sseen i n Lauren Weisberger’ sThe Devi lWear s a

d a r

P .Here, t heory o fapproach, t heoryo fcharacter na d characteirzaiton, theory n

o it a v it o m f

o , theoryo fclothingandt heoryofs rtugglef orl fieareappiled.

T he theo ireso fcharacte rand characte irzaiton areemployed a sa basis t o e

z y l a n

a descirpiton o fhow Andrea Sachs si depicted in the novel .Beside ,s the h

c a o r p p a l a c i g o l o h c y s

p a s the bes tapproach to see the characteirzaiton ,the n

o it a v it o

m andhers rtuggletobef ashionablei sappiled .Fu trherm orethetheoryo f n

o it a v it o

m , t heory o fhuman needsandt heory o fclothingareappiled to ifnd ou t s

’ r e t c a r a h c n i a m e h

t reasons in becoming fashionable. By knowing the s

c it s ir e t c a r a h

c da n moitvaiton swhich t hemain characte rhas, i tc ean b ufo nd ou t w

o

h Andreadecides to becomef ashionabl ein t henove lTheDevi lWear sPrada y

b Lauren Weisberger .Thel as,t by applying theory o fclothing and srtuggle fo r e

fi

l , ti can bef ound ou thow AndreaSachs srtugglestobef ashionablea sseen i n a

d a r P s r a e W l i v e D e h

0 2

I I I R E T P A H C

Y G O L O D O H T E M

Thi schapte rdiscusses objec to fthe study ,approach o fthe study and e

r u d e c o r p h c r a e s e

r .Theobjec toft hestudydeal swtih t henove lTheDevi lWear s a

d a r

P byLaurenWeisberger ,whichist hef ocu soft hes tudy .Theapproacho fthe s ytud discussest heciritca lapproach app iled fo ranalyzing t hi snovel .Laslty, t he

e r u d e c o r p h c r a e s e

r outilnest heprocedure so fhowt hes tudyi sanalyzed.

.

A Objec toft heStudy

Thep irmaryobjectoft hi sstudyi sTheDevi lWear sPrada (2003) .Thisi s 2 3 4 n i s r e t p a h c 9 1 s n i a t n o c l e v o n e h T . r e g r e b s i e W n e r u a L y b n e tt ir w l e v o n a

. g n o l s e g a

p The Devi lWear sPrada wa sfris tpubilshed in the Untied State sby x o F h t 0 2 y b e i v o m o t n i d e t p a d a s a w k o o b e h t o s l a d n a 3 0 0 2 n i y a d e l b u o D

N n o i s i v e l e

T etworki n2006wtiht hes ame itlte. l

e v o n s i h

T tell saprofessiona ladventureo fAndrea ,whosegreates tdream h g u o r h t y rt s u d n i n o i h s a f e h t n i b o j a s t e g a e r d n A . t s il a n r u o j a e m o c e b o t s i

e n i z a g a m y a w n u

R .Nevetrheless ,Andreawli lnotdevelophe rw iritngskillsi nt he s

a s t n e l a t r e h t u b , e n i z a g a

m junio rassistant fo the edtio rin chie,f Mrianda y

lt s e ir

P .The problem i st ha tMriandai sa mercliess ,posh and crue lwoman t ha t s

e k a

m experiences fo a ilving hel lfo rhe remployees .Mrianda give sAndrea a e

s i m o r

p thati fshecandoherj obwellf o rayear ,shewli lbepromotedt oanothe r r

e p a p s w e n r o e n i z a g a

r a e y a t s a e l t a d e ri f e

b .Shewli ldoanythingt oge the rdreamto beaj ournailsti n r

e k r o Y w e N e h

T .Theenvrionmenti nt heplacewli lbecoldandexrtemelyciritca l t

h ti

w hephysica lappearance . Andreahastochangehe rsimpleandplainstylet o s s o b s s e l h t u r r e h f o e c n a t p e c c a e h t n i a g o t r e d r o n i , e n o t n a g e l e d n a y d n e rt e r o m a

,s e u g a e ll o c d n

a especially Emliy , her workmate . Desptie everything agains t e

h s , e c if f o e h t n i a e r d n

A considerstheexpeirencea sachallengeneeds drasitcally s

e g n a h

c he rclothe sand sefl-image ,wtih t he help o fthe magazin 'e sar tdriector . u

o h tl a n a m o w e l b a n o i h s a f a s e m o c e b e h

S g h shecanno t ifnish her j ob wel lfor a r

a e

y because o fMriandas't ough work rhythm and nealry i mpossible t asks . tIi s .s d n e ir f d n a y li m a f , d n e ir f y o b r e h h ti w e fi l e t a v ir p a t u o h ti w a e r d n A g n i v a e l

.

B Approachoft heStudy

Thef ocu soft he ust dyi son t hemoitvaitonandt hesrtuggleo fAndreaf or s

m e l b o r p e h t g n i z y l a n a n I . e l b a n o i h s a f g n i e

b , an approach i s employed in o

t g n i d r o c c A . m e l b o r p e h t g n i z y l a n

a Rohrberge rand Woods ,J.r( 1971), thereare a

t s il a m r o f e h t e r a y e h T . s e h c a o r p p a ’ s d n i k e v

if pproach , the biographica l l

a r u tl u c o i c o s e h t , h c a o r p p

a -histo irca lapproach, t hemythopoeicapproach ,andt he h

c a o r p p a l a c i g o l o h c y s

p p(p . - )6 1 . 5

In t hi sstudy et h psychologica lapproach i sappiled becausei tcan help in i

z y l a n

a ng human moitvaiton ,struggle ,and also behavio rpattern swhich al lo f m

e h

t arerelated t o psychologica l ifeld .Andrea’ smoitvaiton and he rsrtuggle rf o t

c e f f a e l b a n o i h s a f g n i m o c e

b he rpsychologica lstates .Byusingt hi spsychologica l r

p p

e l g g u rt

s in becoming fashionable .Human moitvaiton and srtuggle fo rlfie are tr

a

p so fhumanpsychology.

.

C Methodoft heStudy

Library research ast heresearch method t o gathert hedatawa sappiled i n s

i h

t study .There were two kind so fdatatha tare used to analyze t he problems . e

r e w e s o h

T p irmary and secondary data .The p irmary data was t he nove l tisefl, a

d a r P s r a e W l i v e D e h

T (2003 )by Lauren Weisberger .Thesecondary datawere c

r u o s r e h t o y n a m m o r f n e k a

t e stha twere closely related to the study ,such a s i rnten e,t fashion e-books ,magazine ,etc .Thereweresevera lbook srelated t o t he

e t y r a r e ti l e h t f o y r o e h

t rm ,the theory o fpsychology ,theory o fcharacte rand ,

n o it a z ir e t c a r a h

c theoryo fmoitvaiton, t heory o fclothing ,and t heoryo fsrtuggle . e

m o s e r e w e r e h

T stepsi n conducitng t hi sstudy t o answert hequesiton sstated i n n

o it a l u m r o f m e l b o r p e h

t . The fris tstep was readi ng the nove lsevera l itme sto ,

t x e N . y r o t s e h t d n a t s r e d n

u the wrtie rfocused on the Andrea’ scharacters ,her e

l y t s n o i h s a

f changing and compared h er fashion style before working in r

e tf a d n a e n i z a g a m y a w a n u

R working in Runaway magazine .Next ,the wrtie r a

w t I . s m e l b o r p e h t d e t a l u m r o

f sAndrea’s moitvaiton fo rbecoming fashionable rt

s r e h d n

a ugglet or eachhe rgoal.

The second step the wrtie rdiscovered some informaiton o rreference s e

r e w s e ir o e h t e h T . e r u t a r e ti l f o s e ir o e h t e h t o t d e t a l e

r used in orde rto analyze

n o s a e r e h t t a h

w fu trher .Thewrtierr eadmanybook sand browsedt hei nternetf o r s

i s y l a n a e h t o t d e t a l e r n o it a m r o f n i e h

t .Thebooks t ha twer e appiled were abou t a

m u h , n o it a z ir e t c a r a h c d n a r e t c a r a h

The th rid step the wrtier determined the theo ire sand approache stha t d

e il p p a e b d l u o

w in thi sstudy .Based on the main idea thi sstudy appiled the u

t s s i h t n i y g o l o h c y s p f o s e ir o e h t e h T . h c a o r p p a l a c i g o l o h c y s

p dy were t heory o f

, n o it a v it o

m theoryo fhumanneeds ,theoryo fclothingandt heoryo fsrtuggle .The v

o n e h t g n i z y l a n a s a w p e t s h tr u o

f e lusingt het heo ire sandapproach t oanswert he o

r

4 2

V I R E T P A H C

S I S Y L A N A

Thi schapteri sdividedi ntot wopatrs .Thef ris tpar tdiscussesthecharacte r f

o Andrea Sachs, the main character of t henovel. The second par tconcerns the d

n a n o it a v it o

m srtuggleo fAndreaSachstochangeherf ashions tyle.

.

A TheDescrip iton fo AndreaSachs c

A cording t o Henkle (1997 )majo rcharacter sare t hemost i mpo tran tand o h w e s o h t e r a s r e t c a r a h c r o n i m e h t , e li h w n a e M . l e v o n a n i s r e t c a r a h c x e l p m o c

l e v o n a n i s r e t c a r a h c x e l p m o c s s e l d n a t n a tr o p m i s s e l m r o f r e

p (p .87- 98 ). Based

e l k n e H y b d e s o p o r p y r o e h t e h t n

o ,Andreai sconsideredast hemajo rcharacteri n e l o r t n a tr o p m i t s o m e h t s y a l p a e r d n A . n o it n e tt a t s e ll u f ri e h t t u p s r e d a e r e h t h c i h w

e m o c e b d n

a s thef ocu so fatteniton.

Moreover ,Foster (1974 )divide scharacters i nto lfa tcharacter sand round g n i n n i g e b e h t m o r f e m a s e h t s y a t s t a h t r e t c a r a h c a s i r e t c a r a h c t a lf A . s r e t c a r a h c

m e m e r y li s a e e b n a c r e t c a r a h c s i h t o s y r o t s e h t f o d n e e h t l it n

u bered by the

T . s r e d a e

r hi scharacte rcanalsobeeasliyr ecognizedbecause ti i scharacteirzedby d n u o r e h T . e c n e t n e s a r o e s a r h p e l g n i s a n i d e b ir c s e d d n a s ti a rt o w t r o e n o

n o it a v it o m d n a t n e m a r e p m e t n i x e l p m o c s i f l e s ti r e t c a r a h

c (p .51). In ilne wtih

r e t c a r a h c d n u o r a s a d e r e d i s n o c s i a e r d n A , y r o e h t s ’ r e t s o

F since she i sbu li t

. y ti l a n o s r e p x e l p m o c a s a h e h S . e r u t a n n a m u h f o s ti a rt r o s a e d i l a r e v e s d n u o r a

f o t o l a s a h e h s ,r e v o e r o

Accordingt oMurphy(1972),t hereareninewaysi npresenitngacharacte r o

it p ir c s e d l a n o s r e p e r a e s o h T . l e v o n a n

i n ,character sa sseen byanother ,speech , t s a l e h t d n a , t h g u o h t , t n e m m o c t c e ri d , s n o it c a e r , r e h t o f o n o it a s r e v n o c , e fi l t s a p

m s ir e n n a m s i e n

o (pp .161-173). However ,there are only severa lway stha tare d

e il p p

a to desc irbeand analyzet hecharacteirsitcofAndrea.I nt hi snove lAndrea a

d e b ir c s e d s

i sunfashionable, cairng ,committed ,brave ,paiten tandhardworking. .

1 Unfashionable

Physically ,Lauren Weisberge rdepict sAndreaa sat wenty t hreeyea rold . s

i e h

S an unfashionable woman .She grows pu and ilves in a smal ltown in .t

u c it c e n n o C , n o v A , a c ir e m

A In high schoo lshe has high schoo lspo tr ,s youth r

a e w s y a w l a d n a , s e it r a p g n i k n ir d , g n it e e m p u o r

g s sweatpantst oschoo,lj eansf o r .

e c n a d l a m r o fi m e s r o f s s e n if f u p d e lf f u r d n a , t h g i n y a d r u t a

S He rcollegei s Brown

d n a , ti f s i m , t s it r a f o e p y t e l b a n i g a m i h ti w r a il i m a f t s u j s i e h S . y ti s r e v i n U

. k e e g r e t u p m o

c Forf ou ryearsi ncollegeshespend smuddilng around Providence h g i H . e l y t s n o i h s a f t u b s e it il i c a f l l a s p i u q e n w o r B . s t o o b g n i k i h d n a s e c e e lf n i

o i h s a

f n i st he singleexcepiton from all t ha t ilsted faciilites (p .11) .Thati swhy s

i a e r d n

A on tfamiila rwtih recen thigh fashion style .She i sno taccustomed to r

a e

w brandedandexpensivedresse . s a

e r d n

A ’ s unfashionable style can be seen through the dress she wear s .

y a w a n u R n i w e i v r e t n i b o j a s a h e h s n e h

w Runaway i sone fo fashion magazines e

e y o l p m e y r e v E . d lr o w e h t n

i ha sagood stylei n fashion ,a sshown i n Runway a

e r d n A t u b e n i z a g a

m .Shegoest hereweairngunfashionableclothe swhichareno t h

ti w e l b a ti u

d n a t e k c a j a e l b m a s a o t d e g a n a m d n a o t p e P h ti w l i v d A n w o d d e h s a w I

y e h t t s a e l t a t u b , ti u s a d e t a e r c y a w o n n i d n a h c t a m t o n d i d t a h t s t n a p

t

sayed pu ton my body .A bluebutton – down ,anot t oo perky ponytali , a

p a d n

a i ro fsilgh ltyscuffed lfat scompletedmyl ook.I twa sgrea,ti nf act , t o n e r ’ y e h T . e c if f u s o t e v a h d l u o w t i t u B . y l g u y l e m e r p u s n o d e r e d r o b t i

. g n i k n i h t r e b m e m e r I , e n o l a t if t u o e h t n o e m t c e j e r r o e m e ri h o t g n i o g

. d i c u l y l e r a b s a w I , y lr a e l

C (p.14)

tl

A hough ifnally Andrea get s he r job a s a junio r assistan t o f the y

a w a n u

R ’ s edtior ,she stli lwear sunfashionable dress .Du irng three month so f e

r e h t g n i k r o

w ,s hes itllt hinks tha ti tdoe sno tmattert owea runfashionabledresse s m

o r f t n e r e f fi

d otheremployees .Shet hinkst ha ttii sj us tenought odohe rduty a s g

n i e b t u o h ti w t n a t s i s s a r o i n u j

a busy to dres sfashionably .She think stha ti ti s o

t h g u o n

e wears implyanythingt hati snottorn,f rayed ,ands tained(p.24 .) a

e r d n A , y l d e t a e p e

R reailzes tha twha tshew s ear i sno tan approp irateo ne k

r o w e h s n e h

w s a sanassistan to fRunaway’ sed tior .I thappen swhen sheenters s

a il E o

t -Clark buliding attending working in Runaway .Shesays tha tshe has t o t

u

p anun lfatte irnggues tsitcke ronhe run lfatteirngpseudos uti .Fort heumpteenth e

m

it ,shel ook sdown onhe rcheap ,mismatched sui tand very wrongshoes .Then t

a s e r a t s e h s n e h

w the glas s doors , she stand s up and aware o f he r own y rl e w e j ,s e ir o s s e c c a f o k c a l r e tt u d n a , ri a h p m il , ti u s e t a ir p o r p p a n a y l s u o d n e r r o h

d n

a grooming( p .26-2 9 .) e l b a n o i h s a f n u s ’ a e r d n

A style can be seen through he racitvtiy in getitng g n i k r o w y a d t s ri f r e h f o y r a s r e v i n n a s h t n o m e e r h t r o f r a e w o t s e h t o l c e t a ir p o r p p a

. y a w a n u R t

a Shedoe sno thaveapprop irateclothest oweari nhe rcloset .Atl east , d n a g n i s o o h c e m it r e h d n e p s o t t s u j y lr a e a rt x e p u t e g s y a w l a e h s s k e e w e v l e w t r o f

s e l y t s s ’ y a w a n u R e n i m r e t e d o t s e ir t s y a w l a e h S . r a e w o t s e h t o l c r e h g n i h c t a m

1 7

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3 7

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4 7

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o ilke they were custom

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p lazer .“These cothes…this al lfo rme?” I . d e d n e f f o t o n d n a d e ti c x e d e d n u o s I g n i p o h , d e k s a g n i y l n e e b e v a h t a h t s g n i h t e m o s t s u J . g n i h t o n s i t i , h a e Y “ , s t o o h s n i ti f o e m o s d e s u e v a h t h g i m e W . r e v e r o f t e s o l C e h t d n u o r a t o t d e n r u t e r t o g r e v e t i f o e n o n t u

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5 7

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