2. REVIEW AND RELATED LITERATURE 2.1 Novel - Strategies To Keep Secret Through Sophie Kinsella’s Novel “Can You Keep A Secret”
2. REVIEW AND RELATED LITERATURE
2.1 Novel
Novel is a story which tells about life. Novels do not, however, present a documentary picture of life. Along side the fact that novels look at people in society, the other major characteristic of the genre is that novels tell a story. In fact, novels tend some few stories time .
Peck and Martin (1984:102) insist that a lot of novels have young people as the main characters, for it is often the young men feel themselves to be most at odds with convectional standards. You will have made considerable progress in understanding the particular novel you are reading if you can see how it sets certain individuals against society or their family.
Novels do not, however make the mistake of believing that the novel is written to put across the point. Some novels are moralities The message of their novels tell about the update reallity in our society. Nowadays the novels not only tell about the young people love relationship but also the moral crisis, education and other social life.But it would be so simple to say that the important thing about their novel messages.
Stanton (1965:2) states that popular novel is more readable and more easily enjoyed because it merely delivers entertainment straight from the action of the story that is told as well as any minor problems.
Both of them tell about life experience of human being. Writing a novel based on true story is more reliable. It is not only a matter of imagination. True story means factual or it happens in real world, but in writing a novel based on true story that should be joined with the imagination.
“Writers have, of course, always been interested in the world around them, but the development of the novel reflects a move away from an essentially religious view of life towards a new interest in the complexities of everyday experience. Most of novels are concerned with ordinary people and their problems in the societies in which they find themselves.” (Peck and Martin 1984:102)
We have activities and experiences that are in our life. The activities and experiences of us can be a source to write a novel, it is easier because our activities and experiences are happened in real world.
2.1.1 Character
Characters are the persons presented in works of narrative (such as a novel, drama, or film) who convey their personal qualities through dialogues and actions by which the reader or audience understand their thoughts, feelings, intentions and motives.
Karl (1976:238) says, “Character is of interest for the personal reason that we want to see how other people live, how they make decision and react to responsibility, how they pursue their goal. We measure ourselves by them. Think of characters in stories and novels as real people, and then your imagination go.” It means characters in novel can affect the reader and can give positive or negative impacts.
The character may win, lose, or tie. He or she may learn and be better for the experience or may miss the point and be unchanged.
E.M. Foster (1927) says, “There are two basic types of characters “round character” and “flat character.”
Round Character is that they recognize, change with, or adjust to
circumtances. The round characters are usually the main figure in a story, profit from experience and undergoes a change or alternation, which may be shown in an action or actions, the realization of new strength and therefore the affirmation of previous decisions, the acceptance of a new condition, or the discovery of unrecognized truths.
The round character usually plays a major role in a story. Round characters are often called the hero or the heroine. Many main characters are anything but heroic, however, and it is therefore preferable to use the more neutral word protagonist. The protagonist is the central of the action, moves against an antagonist, and exhibits the ability to adapt to new circumtances.
Flat characters, in contrast, do not grow. They remain the same because
they may be stupid or insensitive or lacking in knowledge or insight. They end where they begin and are static, not dynamic. But the flat characters are not therefore worthless, for they usually highlight the development of the round characters. Sometimes, the flat characters are prominent in certain types of literature, such as cowboy, police, and detective stories, where the focus is less on character than on performance. They must be strong, tough, and lever enough to perform recurring tasks like solving a crime, overcoming a villain, or finding a To the degree that stock characters have many common traits, they are representative of their class, or group. Such characters, with variations in names, ages, and sexes, have been constant in literature since the ancient Greeks. Some regular stock characters are the insensitive father, the interfering mother, the sassy younger brother or sister, the greedy politican, the resourceful cowboy or detective, the overbearing or henpecked husband, the submissive or nagging wife, and the angry police captain.
Stock characters stay flat as long as they merely perform their roles and exhibit conventional and unindividual traits. When they posses no attitudes except those of their class, they are label stereotype, because they all seem to be cast from the same mold or printing matrix.
There are static character and dynamic character. Static character never changes. A loud, obnoxious “background” character who remains the same throughout the story is static. A boring character who is never changed by events is also static.
Dynamic character is unlike a static character, a dynamic character does change and grow as the story unfoids. Dynamic characters respond to events and experience a change in attitude or outlook.
2.1.2 Main Character and Peripheral Character
Main character is the character that often appears in almost event, the main character is the important and the special character, so that we feel is so dominates the story. novel, and may be relatively in short portion. It is called peripheral character often provide, support, and illuminated the protagonist.
2.1.3 Protagonist and Antagonist
Gwynn (2003:11) says, “Every story hinges on the actions undertaken by its main character, or protagonist, a term drawn from crying annancient Greek tragedy (literally “first debater”) that is more useful in discussion of fiction than such misleading term as hero or heroine. Additionally, stories may contain an opposing character, or antagonist, with whom the protagonist is drawn into cinflict.” It means there are two kinds of character, protagonist and antagonist in novel. By the character we would know the situation of the story.
Protagonist is the main character of a literary, theatrical, cinematic, or musical narrative, who ends up in conflict because of the antagonist and with whom the audience is intended to most identify.
Antagonist is a character, group of characters, or institution, that represents the opposition against which the protagonist must contend.
Sometimes, antagonists and protagonists may overlap, depending on what their ultimate objectives are considered to be.
2.1.4 How is Character Disclosed in Fiction?
Authors use five ways to present their characters. The reader must use their own knowledge and experience to make judgement about the qualities of the characters being revealed.
What characters do is the best way to understand what they are. As with ordinary human beings, fictional characters do not necessarily understand how they may be changing or why they do the things they do. Nevertheless, their actions express their characters.
Action may also signal qualities such as naivete, weakness, deceit, a scheming personality, strong inner conflicts, or a realization or growth of some sort.
2.1.6 Descriptions, both Personal and Environmental
Appearance and environment reveal much about a character’s social and economic status, of course, but they also tell us more about character traits.
2.1.7 Dramatic Statements and Thoughts
Although the speeches of most characters are funcional-essential to keep the story moving along-they provide material from which the readers can draw conclusions. Often, characters use speech to hide their motives, though readers should see through such a ploy.
2.1.8 Statements by Other Characters
By studying what characters say about each other, you can enchance your understanding of the character being discussed. Ironically, the characters doing the talking often indicate something other than what they intend, perhaps because of prejudice, stupidity, or foolishness.
2.1.9 Statements by the Author Speaking as Storyteller or Observer
is usually accurate, and the authorial voice can be accepted factually. Authors frequently avoid interpretations and devote their skill to arrange events and speeches so that readers may draw their own conclusions.
2.1.10 Reality and Probability: Verisimilitude
Characters in fiction should be true to life. That is, their actions, statements, and thoughts must all be what human beings are likely to do, say, and think under the conditions presented in the story. The standard is that of
verisimilitude, probability, or plausibility. That is, there may be persons in life
who perform tasks or exhibit characteristics that are difficult or seemingly impossible. Such characters in fiction would not be true to life, however, because they do not fit within normal or usual behavior.
One should therefore distinguish between what characters may possibly do and what they most frequently or most usually do. Nevertheless, probability does not rule out surprise or even exaggeration.
2.1.11 Plot
In a well-done story, all the actions and incidents, speeches, thoughts, and observations are linked together to make up an entirety, sometimes called an organic unity. The essence of this unity is the development and resolution of a conflict-orconflicts-in which the protagonist, or central character, is engaged. The pattern in which the protagonist meets and resolves the conflict is called the plot, which has been compared to the story’s map, scheme, or blueprint. The plot is based on the interations of causes and effects as they develop sequentially or protagonist meets and tries to overcome the forces of opposition.
Often the protagonist’s struggle is directed against another character-an antagonist. Just as often, however, the struggle may occur between the protagonist and opposing groups, forces, ideas, and choices-all of which make up a collective antagonist. The conflict may be carried out whatever human beings spend their lives, such as a kitchen, a bedroom, a restaurant, a town square, a farm, an estate, a workshop, or a battlefield. The conflict may also take place internally, within the mind of the protagonist.
a.
The beginning of exposition.
The author must present sufficient information about characters and situations for us to care about the outcome of the people involved. This portion introduces relationships among people and people, and people and things. It also locates the story in time and place.
b.
Middle or body The ‘proof’ of the story, the happenings. This involves conflict, and/or complications. This section shows cause and effect, a necessary element for literature. It also contains such aspects as tension, suspense, reversal, foreshadowing, etc.
c.
End or conclusion This must be a satisfying resolution of the events, problems, conflicts, etc. It need not to be a happy ending, but it usually leaves nothing unresolved- unless this is the intent.
The place or location of the action. The setting provides the historical ann cultural context for characters. It often can symbolize the emotional state of characters. Stories actually have two types of setting: Physical and Chronological. The Physical setting is of course where the story takes place. Likewise, the chronological setting, the “when” can be equally general or specific.
2.1.13 Point of View
Point of view is the “narrative point of view,” how the story is told more specifically, who tells it. There are two distinctly different types of point of view and each of those two types has two variations. In the first person point of view, the story is told by a character within the story, a character using the first person pronoun, I.
In the narrator is the main character, the point of view is the first person protagonist. If the narrator is a secondary character, the point of view is first person observer. In the third point of view, the story is not told by a character but by an “invisible author,” using the third person pronoun (he, she, or it) to tell the story. If the third person narrator gives us the thoughts of characters (He wondered where he’d lost his baseball glove), then he is a third person omniscient (all knowing) narrator. In the third person narrator only gives us information which could be recorded, then he is a third person dramatic narrator.
Different points of view can emphasize different things. A first person protagonist narrator would give us access to the thoughts of the main character. If the author does not want us to have that access, he could use the first person
2.1.14 Theme
Fiction necessarily embodies issues and ideas. Even stories written for entertainment alone are based in an idea or position. More serious works may force characters to make difficult moral choices, in the thought that in a losing situation the only winner is the one who maintains honor and self-respect.
Mystery and suspense stories rest on the belief that problems have solutions, even if they may not at first seem apparent. Writers may deal with the triumphs and defeats of life, the admirable and the despicable, the humorous and the pathetic, but whatever their goal, they are always expressing ideas about human experience.
In fiction, ideas take the form of an underlying theme or central idea, which helps to tie the work together.
2.2 Strategy
Strategy is a high levelto achieve one or more goals under conditions of uncertainty. Strategy becomes ever necessary when it is known or suspected there are insufficient resources to achieve these goals. Strategy is also about attaining and maintaining a position of advantage over adversaries through the successive exploitation of known or emergent possibilities rather than committing to any specific fixed plan designed at the outset.
2.2.1 Trust
(Moorman, 1993) says that Trust is the willingness to rely on others in which we have confidence to him. Trust is a mental condition that was based on one's situation and its social context. When one takes a decision, he would prefer a less trusted.
“Trust comes from believing, that recognize or believe the truth. Beliefs are matters relating to recognition or faith in the truth.” ( Putra 2012 : 1 )
“Trust occurs when a person is confident in the reliability and integrity of the people who believed.” (Morgan & Hunt, 1994)
( Johnson & Johnson, 1997) say that Trust is an aspect in a relationship and are continually changing. And Johnson (2006) says that Trust is fundamental in establishing and maintaining interpersonal relationships.
“Trust to the the pair will rise if the pair can meet the expectations of individuals and earnestly concerned about the pair when the situation allows individuals to ignore them.” ( Levinsin, 1995 )
( Rofiq, 2007:32 ) defines Trust is the truth given to the other party in the transaction to have a conviction that people who believed it had all its obligations as well as expected.
“When consumers trust a company, they would prefer to share re-purchase and personal informations are valuable to the company.” ( Prasaranphanich, 2007:23.1) “Consumer confidence is all the knowledge possessed by the consumer and the consumer’s conclusions made about the objects, attributes, and its benefits.” ( Mowen, 2002:312 )
2.2.2 Silence
Silence is the lack ofy analogy, the word silence can also refer to any absence of Silence is also used as total connection. Silence also refers to no sounds uttered by anybody in a room or area.
Silence is an important factor in many cultural spectacles, as in rituals.
“Silence can be a sign of danger. Many social animals produce seemingly haphazard sounds which are known as hese are a mixture of various sounds, accompanying the group's everyday business (for examplecontact with the members of the group. Some social animal species communicate the signal of potential danger by stopping contact calls and freezing, without the use of suggested that humancould have been a contact method that early humans used to avoid silence. According to his suggestion, humans find prolonged silence distressing (suggesting danger to them). This may help explain why lone humans in relative sonic isolation feel a sense of comfort from humming, whistling, talking to themselves, or having the TV/radio on.” (Joseph Jordania ) "Silence in spirituality is often a metaphor for inner stillness. A silent mind, freed from the onslaught of thoughts and thought patterns, is both a goal and an important step in spiritual development. Such "inner silence" is not about the absence of sound; instead, it is understood to bring one in contact with the divine, the ultimate reality, or one's own true self, one's divinenature.” ( In Spirituality )
2.2.3 Cooperation
Cooperation is the process of working or acting together, willingness to cooperate, to help out or get involved, including others, encouraging, sharing, working together and willing to Have a Go. And just a helpful tip The words 'Co' and 'Operation' are not two people doing surgery.
Cooperation (sometimes written co-operation or coöperation) is the process of working or acting together. In its simplest form it involves things working in harmony, while in its more complicated forms, it can involve something as complex as the inner workings of a human being or even the social patterns of a nation. It is the opposite of working separately in competition. Cooperation can also be accomplished by computers, which can handle shared resources simultaneously, while sharing processor time.
“Cooperation is the process by which the components of a system work together to achieve the global properties. In other words, individual components that appear to be “selfish” and independent work together to create a highly complex, greater-than-the-sum-of-its-parts system.” (Cooperative Systems) “Cooperation exists not only in humans but in animals as well. This behavior appears, however, to occur mostly between relatives. Spending time and resources assisting a related individual may at first seem destructive to the organism’s chances of survival but is actually beneficial over the long-term. Since relatives share part of their genetic make-up, enhancing each other’s chances of survival may actually increase the likelihood that the helper’s genetic traits will be passed on to future generations.” (Cooperation In Animals)
2.3 Strategic Planning
Strategic planning is anon allocating its resources to pursue this strategy.
In order to determine the direction of the organization, it is necessary to understand its current position and the possible avenues through which it can pursue a particular course of action. Generally, strategic planning deals with at least one of three key questions: "What do we do?" "For whom do we do it?"
"How do we excel?"
A strategic planning is essential for a successful business, and creating a strategic plan that you can actually use is key. Your plan should include certain elements, like mission, values, and vision statements, and avoid common pitfalls, like neglecting the specific needs of your organization, so it becomes your road map for success.
“Many people mistake the vision statement for the mission statement, and sometimes one is simply used as a longer term version of the other. However they are distinct; with the vision being a descriptive picture of a desired future state; and the mission being a statement of a rationale, applicable now as well as in the future. The mission is therefore the means of successfully achieving the vision” (Erica Olsen)
2.4 Concept Driven Strategy
A Concept Driven Strategy is a process for formulating strategy that draws on the explanation of how humans inquire provided by linguistic pragmatic philosophy. This argues that thinking starts by selecting (explicitly or implicitly) a set of concepts (frames, patterns, lens, principles etc.) gained from our past experiences.