Symbols revealed in Minfong Ho`s The Clay Marble.
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Y T I L A N I G I R O S ’ K R O W F O T N E M E T A T S
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y r a M r e h t o M d n a t s i r h C s u s e J
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L BARPERNYATAANPERSETUJUAN
S I M E D A K A N A G N I T N E P E K K U T N U H A I M L I A Y R A K I S A K I L B U P
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s , n a u h a t e g n e p u m li n a g n a b m e g n e p i m e
D aya membeirkan kepada Perpustakaan :
l u d u jr e b g n a y a y a s h a i m li a y r a k a m r a h D a t a n a S s a ti s r e v i n U
S ’ O H G N O F N I M N I D E L A E V E R S L O B M Y
S THECLAYMARBLE
n a a k a t s u p r e P a d a p e k n a k ir e b m e m a y a s n a i k i m e d n a g n e
D Universtias Sanata
n a k h il a g n e m , n a p m i y n e m k u t n u k a h a m r a h
D dalam bentuk media lain ,
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e m n u p u a m a y a s i r a d n ij i a t n i m e m u lr e p a p n a
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S T N E M E G D E L W O N K C A
y m s s e r p x e o t e k il d l u o w
I deepes t grattiude to those who helped , r
a c d n a , d e t a v it o
m edf ormedu irngthe ifnishing fo thist hesis . t
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t blessing and the srtength s o tha t Ican ifnish thi sthesis and Ican face the h
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d el azinessi ndoingt hist hesi .s e
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I to expres smy grattiude fo rmy adviso rHenny Herawait , r
e h r o f m u H . M , . d P .
S paitence ,kindness ,and suggesiton and also he ratteniton d
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a correciton in ifnishing thi sthesis .In addiiton , Ithank Adest iKomalasair , .
A . M , . d P .
S , Fr. Lucianu sSuha jranto ,SJ, Drs .Balr iBram ,M.Ed. ,Ph.D. ,and .
t S . s n a r T . M , . d P . S , i n r a m u S a it n e r u a
L fort hei rhelpandt hei rkindnes stobemy r
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i k i d a g N s u i n o t n
A , my mother ,Ch irsitnaKusumastuit , for t hei rpaitence, love , y
d u t s y m g n ir u d e r a c d n
a and also theprayert oward me . tIi s l ate ,bu t ifnally I h
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if ti. Iwould also ilke t o thank my sister ,MbakNana ,and my brother ,M sa e
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A , fo ralway saskingabout t heprogres so fmy t hesisand always t easing me .
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N , Iwould ilketo t hank my f irend swho have moitvated me t o ifnish p
l e h d n a s i s e h t s i h
t ed medu irng my study .My specialt hank sgo toDhtia ,Rean , a
k s ir P , h a e
T fort hebeautfiu lfirendship du irng t hi sitme. Ialso t hankNak ,Saka , ,
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T C A R T S B A ,i
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N Lucia Astir . 2013. Symbol sRevealed in Minfong Ho’ s The Clay e
l b r a
M .Yogyakatra :Engilsh LanguageEducaitonStudyProgram ,Depatrmen to f , n o it a c u d E d n a g n i n i a r T s r e h c a e T f o y tl u c a F , n o it a c u d E s tr A d n a e g a u g n a L
. y ti s r e v i n U a m r a h D a t a n a S
s ’ o H g n o f n i
M TheClay Marblei sanove ltha ttell sabou t the srtuggle o f e
l p o e p n a i d o b m a
C in t he middle o fwar .The nove lfocuse son t he srtuggle o fa .
a r a D d e m a n l ri g e lt ti
l The novel t ell sabou thow Dara faces he rnew l fie i n t he f
k o o l o t e l g g u rt s r e h d n a p m a c e e g u f e
r o rherf amliy when shei sseparated mfro .
p m a c e e g u f e r e h t n i g n il l e h s e h t f o e s u a c e b m e h
t There are two research
s m e l b o r
p stated in thi sstudy .They are :(1 )Wha tare the symbol srevealed in s
’ o H g n o f n i
M TheClay Marble? (2 )Wha taret hemeaning soft hese symbols i n s
’ o H g n o f n i
M TheClayMarble? e
s u y d u t s s i h
T d a sociological approach .The wrtie rchose thi sapproach e
s u a c e
b thestudyanalyzed andexplored ltieraturei nt hecutlura lcontexti nwhich t
i aw swirtten .Thi sapproachalsoanalyzed et h cutlura lvalue so faparitculart ex t m
i pilcilty o rexpilcilty promoted in a ltierary works. Thi sstudy wa sa ilbrary y
d u t
s ,t hereforethiss tudyusedt womains ources .Thep irmarys ourcewa sanove l e
l b r a M y a l C e h
T wirtten by Minfong Ho .The secondary source swere some n
a s k o o
b daritclesr elatedt osymbol .s r
e tf
A analyzingthenove,lt hewrtierf oundfoursigniifcan tsymbolsi nThe e
l b r a M y a l
C .The fris tsymbol i s t heclay marble .In t henove,l t heclay marble e b o t g n i h t t n a tr o p m i n a e b t s u m e r e h t d n a l e v o n e h t f o e lt it e h t s a s e s u
n e h t n I . d e n il r e d n
u ove,l t he clay marble symboilze sDara’s i nne rsrtength .The d n a , fl e s r e h n i s e v e il e b , e g a r u o c s a h e h S . s h t g n e rt s s a h a r a D s e k a m e l b r a m y a l c
.s e it l u c if fi d r e h e c a f o t e l b a s i e h
s The second symbol i s irce .Ricei soneoft he e
v o n e h t n I . s l o b m y s t n a c if i n g i
s l , irce ha san impo tran tmeaning fo rpeople in e
h t y l n o t o n s i e c i R . p m a c e e g u f e r e h t n i d n a a i d o b m a
C staple food bu talso a
e h T . s s e n r e h t e g o t d n a e p o h f o l o b m y
s thrid symboli s irceseed .Themeaningo f .
e r u t u f e h t n i e fi l f o l o b m y s e h t s i e r e h d e e s e c
ir Throught he irceseed, t herewli l
e
b lfie ,no tonly fo rtoday bu talso fo rtomorrow and fo rmany years .The l ast l
o d y a l c s i l o b m y
s ls .In t he nove,l t he clay dolls od tn o appear a smany a s irc e e
c ir d n a d e e
s .Theclay dolls only appear i n chapter xs i and i n t hebeginning o f ,
n e v e s r e t p a h
c buti tshowst het heme soft henovelt hati saboutf amliy .Theclay .
s e u l a v y li m a f f o l o b m y s e h t e r a s ll o
d Those clay doll srepresent Dara’ sand .
e r u t u f e h t n i y li m a f ri e h t f o n o it a t c e p x e s ’ u t n a J
v o r p o t s d n e t n i y d u t s e h
T ide suggesiton sfort he fu trhe rresearcher swho e
r e h T . l e v o n e m a s e h t e z y l a n
a i n sa othe rtopic tha tcan be analyzed from t he ,
l e v o
n such as personaltiy .Besides ,the study can be used fo rEngilsh teachers . e
l b r a M y a l C e h
T (chapte rtwo) nc a be used in teaching learning acitvtiy fo r h
g i H r o i n e
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x K A R T S B A ir t s A a i c u L , it n a y i v o
N . 2013. Symbol sRevealed in Minfong Ho’s The Clay e
l b r a
M Yogyakatra : Program Stud i Pendidikan Bahasa Ingg irs , Jurusan i
d n e
P dikan Bahasa dan Seni , Fakutla s Keguruan dan lImu Pendidikan , . a m r a h D a t a n a S s a ti s r e v i n U e l b r a M y a l C e h
T karya Minfong Ho adalah sebuah nove l tentang a j o b m a K g n a r o p u d i h n a g n a u jr e
p pada saa t perang . Nove l in i foku s pada r e p k a n a g n a r o e s n a g n a u jr e
p empuan keci lyangbernamaDaradalammenghadap i l e k i r a c n e m k u t n u a y n n a g n a u jr e p n a d n a i s g n u g n e p i d a y n u r a b n a p u d i h e
k uarganya
h a s i p r e t a i d t a a s a d a
p denganmerekakarenaadanyapengebomand ipengungsian . ) 1 ( : u ti a y , i n i n a it il e n e p m a l a d h a l a s a m n a s u m u r a u d a d
A Simbo lapasaja yang
l u d u jr e b l e v o n m a l a d a d
a TheClayMarblekaryaMinfongHo?( 2 )Apakahmakna l o b m i s i r a
d -simbo lyang terdapa tdalam nove lThe Clay Marble karya Minfong ? t u b e s r e t o H n a t a k e d n e p n a k a n u g g n e m i n i n a it il e n e
P sosiologis . Penuil s memiilh
g n e
m gunakan pendekatan i n ikarenapeneilitan i n imenganailsi sdan menyeildik i . l e v o n m a l a d s il u tr e t g n a y n a a y a d u b e k s k e t n o k n a k a n u g g n e m n a a rt s a s u s e k i n i n a t a k e d n e
P jugamenganailsis n -liai n liai kebudayaan yang ada dalam sebuah n u p u a m g n u s g n a l a r a c e s k i a b , s k e
t secara itdak langsung .Sebaga isuatu stud i . a m a t u r e b m u s a u d n a k a n u g g n e m i n i n a it il e n e p , a k a t s u
p Sumbe ryang petrama
u ti a y r e m ir p r e b m u s h a l a d
a nove lTheClayMarbleyangd tiu il solehMinfongHo . u ti a y r e d n u k e s r e b m u s h a l a d a a u d e k g n a y r e b m u
S bukudan tra ike lrelevan.
h a l e t e
S melakukan anailsis , penuil s menemukan empat simbo l yang g
n it n e
p dalam nove lThe Clay Marble .Simbo lyang petrama adalah kelereng u ti a y l e v o n m a l a d l u d u j i d a j n e m t a il h a n a t g n e r e l e K . t a il h a n a
t TheClayMarble .
y a n k a m u t a u s a d a i t s a
P ang d tionjolkan dalam penggunaan kata t ersebu tsebaga i . a r a D i ri d m a l a d n a t a u k e k n a k l o b m i y n e m h a n a t g n e r e l e K . i n i l e v o n m a l a d l u d u j a y a c r e p , i n a r e b m e p g n a r o e s i d a j n e m a r a D t a u b m e m t u b e s r e t t a il h a n a t g n e r e l e K l u s e k i p a d a h g n e m u p m a m n a d i ri d n e s a y n ir i d a d a
p ti -an kesuilatan dalam
. a y n p u d i
h Simbo lyang kedua adalah beras. Dalam novel ii ,n beras bermakna i d g n a r o i g a b g n it n e
p Kambojadan d ipengungsian. Beras bukan hanya sebaga i l o b m i S . n a a m a s r e b e k n a d n a p a r a h i r a d l o b m i s i a g a b e s a g u j i p a t e t a m a t u n a n a k a m g n a
y keitga adalah benih padi . Benih padi adalah simbo lkehidupan d imasa i d a p h i n e b i u l a l e M . n a p e
d ,kehidupan itdakhanyauntuk hairi nit etap ijugauntuk u h a t a p a r e b e b k u t n u n a k h a b k o s e i r a
h n yang akan datang .Simbo lyang t erakhi r h
a l a d
a boneka t anah ilat .Dalam novel i ni ,bonekat anah ilatmerujuk padasalah u
t a
s tema dalam nove l ini , yatiu tentang keluarga. Boneka tanah ilat n a k l o b m i y n e
m n -liainlia iyang ada dalam keluarga nd a menggambarkan harapan . n a p e d a s a m i d a k e r e m a g r a u l e k g n a t n e t a r a D n a d u t n a J il e n e
P itan in idiharapkan dapa tmenjad iacuan bag ipara penelti iyang l e v o n a s il a n a g n e
m The Clay Marble .Topik l ain yang dapa tdianailsa dar inove l i
n
i adalahtentangkep irbadian .Peneilitani n idapa tbergunabag ipengajarBahasa s
ir g g n
I untuks iswaSMAkela sXI.I i c n u k a t a
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i x
S T N E T N O C F O E L B A T
E G A P E L T I
T ... i E
G A P L A V O R P P
A ... ii Y
T I L A N I G I R O S ’ K R O W F O T N E M E T A T
S ... vi N
O I T A C I D E D F O E G A
P ... v I
S A K I L B U P N A U J U T E S R E P N A A T A Y N R E
P ................................................. v i S
T N E M G D E L W O N K C
A ... iiv T
C A R T S B
A ... x.. i K
A R T S B
A ... x T
N O C F O E L B A
T ENTS ... ix S
E C I D N E P P A F O T S I
L ... xii
N O I T C U D O R T N I :I R E T P A H C
y d u t S e h t f o d n u o r g k c a B .
A ... 1 n
o it a l u m r o F m e l b o r P .
B ... 5 y
d u t S e h t f o s e v it c e j b O .
C ... 6 .
D Benefti soft heStudy ... 6 i
n if e D .
E itono fTerms... 6
F O W E I V E R : I I R E T P A H
C RELATEDLITERATURE
w e i v e R .
A o fRelatedTheo ires... 9 .. l
o b m y S f o y r o e h T .
1 ... 9 e
r u tl u C f o y r o e h T .
2 ... 12 .
3 SociologicalApproach... 5.... 1 f
o w e i v e R .
B RelatedStudies ... 6.... 1 v
e R .
C iewont heHisto irca lBackgroundo fCambodia... 61 l
a r u tl u c o i c o S e h t n o w e i v e R .
D Condiiton ni Cambodia... 17 .
(13)
ii x Y
G O L O D O H T E M : I I I R E T P A H C
.
A Objec toft heStudy ... 20 .
B Approachoft heStudy ... 22 .
C Methodoft heStudy ... 23
S I S Y L A N A : V I R E T P A H C
A .TheClayMarble... 24 1 .TheClayMarble sa a Symbol ... 24 2. TheMeaningo ftheClayMarbl e ... 27 a .Symbo lo fDara’sI nne rSrtength ... 27 c
i R .
B e ... 32 .... 1 .Ricea saSymbol ... 32 2 .TheMeaningo fRice ... 36 ..
.
a Symbo lo fHope ... 37 s
s e n r e h t e g o T f o l o b m y S .
b ... 93 .
C RiceSeed ... 43 1 .RiceSeeda saSymbol... 43 2 .TheMeaningo fRiceSeed ... 46
.
a Symbo lo fFutureLfie ... 47 y
a l C e h T .
D Dolls ... 50 e
h T .
1 ClayDollsa saSymbol ... 50 f
o g n i n a e M e h T .
2 ClayDolls ... 55 f
o l o b m y S .
a FamliyValues... 55
D N A S N O I S U L C N O C : V R E T P A H
C SUGGESTIONS
s n o i s u l c n o C .
A ... 60 s
n o it s e g g u S .
B ... 62
S E C N E R E F E
R ... 64 S
E C I D N E P P
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ii i x
S E C I D N E P P A F O T S I L
i h c a e T r o f n a l P n o s s e L e h T . 1 x i d n e p p
A ngReadingi nSenio rHighSchool .... 66 f
o y r a m m u S e h T . 2 x i d n e p p
A TheClayMarble... 75 o
H g n o f n i M f o y h p a r g o i B e h T . 3 x i d n e p p
A ... 77 a
i d o b m a C f o p a M . 4 x i d n e p p
(15)
1 I R E T P A H C T N
I RODUCTION
, s tr a p e v if f o s t s i s n o c r e t p a h c s i h
T namely background o fthe study , n o it i n if e d d n a , y d u t s e h t f o s ti f e n e b , y d u t s e h t f o s e v it c e j b o , n o it a l u m r o f m e l b o r p
n a c i p o t e h t f o n o it p ir c s e d e h t s t n e s e r p y d u t s e h t f o d n u o r g k c a b e h T . s m r e t f
o dt he
e h T . c i p o t e h t g n i s o o h c f o n o s a e
r problemf ormulaitonformulate sproblemst o be .
y d u t s s i h t n i d e s s u c s i d e r a t a h t s m e l b o r p o w t e r a e r e h t d n a d e s s u c s i
d The nex t
. y d u t s e h t f o s e v it c e j b o s i t r a
p Here ,the purpose so fthe study undetraken in w
n o it a l e
r tih the problem formulaiton are stated .The beneftis o f the study e
if it n e d
i which parite s gain the beneif t from the conducted study . Laslty, m
r e t f o n o it i n if e
d s deifne some paritcula r term s in orde r to avoid the s
s i h t f o n o it p e c n o c s i m d n a g n i d n a t s r e d n u s i
m tudy.
.
A Backgroundoft heStudy t o n n a c e r u t a r e ti
L bedeifned a severythingi np irntbecausei tha sagreate r ti
n a h t g n i n a e
m i sstated .Robetr sand Jacobs(1987) ,state tha t“ltierature i sa n
g i s e d n o it i s o p m o c ) n e k o p s o s l a d n a ( n e tt ir
w e d to tel l sto ire ,s dramaitze o t , y lt n a tr o p m i e r o m , o s l a d n a , s n o it o m e d n a s t h g u o h t l a e v e r d n a , s n o it a u ti s
e t a l u m it s , n i a tr e t n e , t s e r e t n
i ,broaden ,andennobler eaders”( p.1) o
s l a s i e r u t a r e ti
L ablet ogivean enjoyment ,pleasureandhappinesstot he .
s r e d a e
r Accordingt oHoracea sctiedbyWellekandWarren(1962), “ltieraturei s e
c l u
(16)
t u o b a s g n i h t y n a m n r a e l n a c e w , e r u t a r e ti l h g u o r h T . s r e d a e r e h t r o f e u l a v l a r o m
s a h c u s , e fi
l educaiton ,personaltiy ,cutlure ,symbol ,gender ,and moitvaiton . )
0 3 . p ( .
f o s d n i k y n a m e r a e r e h
T ltierary work ;novel ,poerty ,prose ,and shor t .
y r o t
s Song can be a ltierary work ,because ltierature can be w irtten and also .
n o it i s o p m o c n e k o p
s Ltieraturei salsoaf orm co f ommunicaiton .Fort heexample t
s
i hrough novel ;one o fthe ltierary work ;wrtier sare able to tel lo rto convey .s
l o b m y s d n a , s e u l a v e fi l ,s e u l a
v Frank Nor ir s(1970 )states “the communicaiton l
a c it e h t s e s e il p m i s y a w l a s r e d a e r s ti d n a k r o w y r a r e ti l n e e w t e
b message ,even
l a c i h p o s o li h
p and i ntellectua lvalue” ( .p237.) I tmeanst hatt hei nterpretaiton, t he t I .t n e r e f fi d e b n a c s r e d a e r g n o m a k r o w y r a r e ti l e h t f o g n i n a e m e h t d n a , e g a s s e m
d a e r e h t f o s e c n e ir e p x e d n a , n o it a c u d e f o l e v e l , y ti v it c e j b u s e h t n o s d n e p e
d e r .s
r u t a r e ti l g n i d a e r f o s e g a t n a v d a y n a m e r a e r e h
T e .Based on Robetr sand s
b o c a
J (1987 ,) through reading ltierature ,people wli lhave deep understanding r
e d n e g d n a , n o i g il e r , e r u tl u c s a h c u s , s t c e p s a y n a m n o e g d e l w o n k d n
a . Secondly,
e
p oplewli lhave cetrain emoiton ilke happiness ,sadness ,fear ,and i nterest atfe r y
e h
t readal tierature .Thridly, theywli lalsoappreciate ilvingt hings .Fo rexample d
o o lf r o t n e m n o ri v n e e h t f o s e g a m a d e h t t u o b a y r o t s
a because o fthe illega l g
n i g g o
l teache speople to keep the envrionmen tand forests in orde rto avoid .
d o o
lf Fou trhly, people are able to develop thei rgoal sand value so flfie .In r
o w y r a r e ti
(17)
e fi l f o s e u l a v e s o h t m o r f n r a e l n a c e l p o e
P so t hattheymo itvatet hemselvesto be .
e fi l ri e h t n i r e tt e b
s ’ o H g n o f n i M e z y l a n a o t s e s o o h c r e ti r w e h
T TheClayMarblebecauset he s
t n a w r e ti r
w to know abou takind o fsymbols and the meaning or t he value o f those symbol .s TheClayMarbles si a irch novel sa s een i n thet heme, l anguage
. s e u l a v e h t d n a , s l o b m y s , r e ti r w e h t y b d e s u s i t a h
t Thi snove ltell sabou tthe e
v i v r u s o t e l g g u rt
s inar efugee campdu irngawa.rOu tofmanyt hingst ha tcanbe e
z y l a n
a danddiscussedf romt hi snovel, t eh wrtie rchosetoanalyzet hesymboli n .
e l b r a M y a l C e h T
r e v
E y counrty ha s ti s own symbo land they can be in form so fcolors , e
c n a
d s , languages , things , food s o r rtee .s Al l o f those symbol s have more l
o c e h t y rt n u o c r u o n I . w o n k e w n a h t g n i n a e m d e d n e t x
e o ro fou r lfag i sred and ,
e ti h
w in which red symboil zes braver y and whtie symboilzes purtiy . I n y
ti n a it s ir h
C ,red symbo ilzes braver y and victory .The colo ro fwhtie symboilze s d
n a y ti r u
p glory.Theothe rexampleofs ymboli schai,ri tcanbeaplacet os ti ,but ti can also be symbo lo fsomeone’ s posiiton in a cetrain organizaiton .Those
w o h s s e l p m a x
e tha tthe meaning o fsymbol scan be d fiferen tfrom one anothe r ti
d n
a depend sonhowweanalyze ti .
. y tr a p g n i d d e w a n i e c ir s u o n it u l g e b t s u m e r e h t , e s e n a v a J n
I Gluitnou s
e c
ir i u sc tlura lsymbolf o rJavanesepeople .A sweknow, t het extureo fgluitnou s y
tr a p g n i d d e w a n i e c ir s u o n it u l g , e r o f e r e h T . y k c it s s i e c
ir symboilzeshope .Hope f o l o b m y s e h T . e i d l it n u r e h t e g o t e v il d n a y k c it s d l u o c y e h t o s e d ir b e h t r o
(18)
o h s s ’t u n o c o C s
i ot .TheCoconutshoo tha sa deep meaning .Coconut i sauseful e
e
rt becauseal loft hepar toft hecoconu trteecanbeused,f romt her oo tuntlit he ,
y h p o s o li h p t a h t m o r F . e e rt e h t f o p
it al lo fthe scout sare hoped to be usefu l e
l p o e
p .In Borneo especially fo rDayak ethnictiy ,the existence o fbrid called c
i n h t e k a y a D r o F . d e r c a s d n a y l o h s i ” g n a g g n E
“ tiy ,Enggang i sthe symbo lo f .
y t s e j a m d n a y tl a y o l , h t g n e rt s
y l p m i s l o b m y s t a h t n w o n k e b n a c t i , e v o b a s e l p m a x e e s o h t f o l l a m o r F
w d n a s g n i n a e m t n e r e f fi
d ehavet o r espec tal loft hedfiference so fthesesymbols . y
a w e h
T toanalyzet hemeaningo fallthesymbol sdependsonmanyaspects .We e
z y l a n a n a
c them through ou rown knowledge ,through the cutlure and the .
h c r a e s e r n w o r u o h g u o r h t o s l a d n a , y t e i c o s
k n i
W leman (2006) ,explains more abou tthe impo trance o fsymbol ,he t
a h t s y a
s symbo lhas an impo tran trole in human’ slfie .He add stha tsymbo li s n e h w d e e n e w t a h t g n i h t e m o s s i t i t u b , y d a e rl a e u l a v e w t a h t s g n i h t n a h t e r o m
ti a
f h o rnaitonailsm have falied us(para .4) .Ast he wrtie rha sexplained before , s
a h y rt n u o c y r e v
e ti sown symboland cutlure .Each counrty canno tbeseparated m
o r
f symbol ,and symbo l tisel fcanno tbe separated from cutlure .I thappen s e
s u a c e
b cutlurecani n lfuencet hekindofs ymbolsi ncetrainarea. g
n i z y l a n
A symbolsi n l tierary work i sno teasy becauseeach peoplewli l f
o n o it a t e r p e t n i n w o r i e h t e v a
h the meaning o fsymbol .I tcan bebased on t hei r n
w
o expe irence and educaiton. The ab litiy to recognize ,analyze ,and identfiy q
e r s l o b m y
(19)
r u o f e r
a cauitons t hatt he reader sshould alway sbealer tfo rsymbo ilc meanings . F tri ,s therei sacluefrom t hestory t hatt hestory symbo ilc .Second ,themeaning
l o b m y s y r a r e ti l e h t f
o mus tbesuppo tredbyt heentriecontex toft hestory. T dh , ri o
t eb called a sasymbo;lan tiemmus tsugges tameaningthati sdfiferenti n kind s
i l o b m y s A . g n i n a e m l a r e ti l s ti m o r
f somethingmoret hant her epresentaitveo fa y
lt s a L . e p y t r o s s a l
c , asymbo lmay havemoret hanonemeanings .I tmaysugges t s
g n i n a e m f o r e t s u l c
a (p 2. 98 ) s l o b m y s g n i z y l a n
A in other uco ntire scan be interesitng. We are able to e s o h t f o e c n a tr o p m i e h t f o n o s a e r e h t d n a s l o b m y s r i e h t d n a t s r e d n u d n a w o n k
a t s r e d n U . s l o b m y
s ndingsymbolsf rom othe rcutluresalsohelps ust obeanopen -t
c e p s e r d n a n o s r e p d e d n i
m fu lofthedfiference soft hes ymbol sandcutlures . r
e ti r w e h t , y d u t s s i h t n
I focuse sont hesymbolsf ound inTheClayMarble . r
e ti r w e h
T wantst o know w hatsymbol sarerevealed in Minfong Ho’ sTheClay e
l b r a
M andt hemeaningofthosesymbolsint henove.l
.
B ProblemFormula iton
, e v o b a y d u t s e h t f o d n u o r g k c a b e h t n o d e s a
B therearet wo quesitons tha t e
b n a
c formulated: t a h W .
1 aret hesymbolsr evealedi nMinfongHo’ sTheClayMarble? e
r a t a h W .
2 the meaning so fthe se symbol sin Minfong Ho’ sThe Clay ?
e l b r a
(20)
.
C Objec itve soft heStudy
o t e r a y d u t s s i h t f o s e v it c e j b o e h
T identfiy symbolsi n Minfong Ho’ sThe e
l b r a M y a l
C andrevealthemeanings oft hoses ymbols .
.
D Benefti soft heStudy
e n e b e m o s e d i v o r p o t e r a y d u t s s i h t f o s ti f e n e b e h
T ifcial i nformaiton fo r s
e it r a p e h
t who read thi sstudy especiall y the readers ,the lecturer ,and student s .
y d u t s e m a s e h t e k a t o h
w F orther eaders ,thi sstudyhelpst hemt o understandt he m
y
s bolsi nTheClayMarbleandmakes themr eailzetha tasimplet hingi nourl fie s
u o i c e r p y r e v e b n a
c i n othe rcountires .Hopefully, they are also morei nterested y
r a r e ti l n
i works;in t hi scaseMinfong Ho’ sTheClayMarbles. Fo rlecture,r thi s e
b n a c y d u t
s used a sone o f the mateirals in teaching-learning acitvtiy ,fo r g
n i d a e r n i s e l p m a x
e ,bookr epor,tandprose .F orthes tudent swhowantt oworki n .
s e c n e r e f e r ri e h t f o e n o s a d e s u e b n a c y d u t s s i h t , k r o w y r a r e ti l
.
E Deifniitono fTerm s e t e m o s e r a e r e h
T rm sin t he study tha t should be cla irifed to avoid .
n o it a t e r p r e t n i s i m d n a g n i d n a t s r e d n u s i m
1. Symbol
According to Edga r and Sedgwick (2002) , symbo l communicate s a g
n i h t e m o s r o f s d n a t s t i e s u a c e b g n i n a e
m else; atlhough there i sno necessary connecitonbetweeni tandwhat tis tandsf or ( .p394) .
(21)
Based on A Dicitonary o fCu tlura land Criitca lTheory(1996) ,symboli s s
d n i
k o fcommunicaiton which si ablet o pervasiveamong humans ,forming t he m
u h l l a y ll a u tr i v o s l a t u b , e fi l l a i c o s t s o m f o y l n o t o n s i s a
b an cutlure sand
y ti v it a e r
c .
d e lt it e l c it r a s i h n i ,r e y a
M Symbo lo fPoetry(2005), statest ha tsymbo lcan ,
n o s r e p a e
b an object ,a word ,o ran even ttha tevoke sa range o faddiitona l .
ti n a h t t c a rt s b a e r o m y ll a u s u d n a d n o y e b g n i n a e
m Ltieraryo rcontextualsymbo l e
m a n , t c e j b o , n o it c a , r e t c a r a h c , g n it t e s a e b n a
c ,o ranything else i n a work t ha t .s
g n i n a e m r e h t o g n it s e g g u s e li h w e c n a c if i n g i s l a r e ti l s ti s n i a t n i a m
h t m o r
F ede ifniiton so fcutlureabove, a symbo lha svairousmeanings and t
i depend son t he context .In t hi sstudy, t he wrtie rde ifnes theword symbo la sa h
c i h w n o it a c i n u m m o c f o d n i
k ha sthe relaiton no tonly among human bu talso .
d n u o r a e r u tl u c e h t d n a n a m u h n e e w t e
b Fu trhermore ,in thi sstudy ,a symbo li s a
s a d e n if e
d kind o fcommunicaiton ,suchas word ,st hing ,st oys ,acitons ,objects , e
m a n r
o s, whichhavear elationwtihhumanand thesociall fie.
2 .Society
o t g n i d r o c c
A Longman Dicitonary o fEngilsh Language and Cutlure , s w a l e r a h s o h w e l p o e p f o p u o r g d a o r b r a l u c it r a p a s i y t e i c o s , ) 2 9 9 1 (
i n a g r
o zaitons ,custom ,andetc,.t ha tmakest hempossiblet o ilvet ogether . n
o d e s a
B Hillegasi n hisaritcle itlted Cutlureand SocietyDeifned (2012) , a
h s o t y a w a h c u s n i t c a r e t n i o h w e l p o e p f o p u o r g a s i y t e i c o
(22)
y t e i c o S . e r u tl u
c also hasageograp hicmeaning ,which i sa group o fpeople who n
o m m o c a e r a h
s cutlure in a paritcular locaiton .There i sa relaiton between n
a e r u tl u
c d society, a cutlureconsist soft heobjec toft hesociety ,whliesocietyi s o
h w e l p o e p
a sharet hecommoncu tlure( para. )3 .
e e g u f e r f o p u o r g a o t s r e f e r y t e i c o s , y d u t s s i h t n
I s who interacts one y
e h t d n a r e h t o n
a sharew hattheyhaveso t hatt heyareablet o ilvet ogetheri n t he e
e g u f e
r camp .
(23)
9 I I R E T P A H C
E R U T A R E T I L D E T A L E R F O W E I V E R
s i h
T chapte rconsist so f ifve patr ,s namely review o frelated theo ires , f
o w e i v e
r relatedstudy,r eviewon t hehisto irca lbackgroundo fCambodia,r eview l
a r u tl u c o i c o s e h t n
o condiiton o fCambodia ,and theoreitca lframework .F ris,t w
e i v e
R o fRelated Theo ire sexplain stheo ire sused to answe rproblem ssuch as d
n a , e r u tl u c f o y r o e h t ,l o b m y s f o y r o e h
t sociologicalapproach .Thesecond patri s o
w e i v e
R f RelatedStudy .Thi spar texplainst her elatedstudyon t hesamet heme. T dhri ,Review on the Histo irca lBackground o fCambodia show sthe history o f
d n a a i d o b m a
C geographica llocaiton o fCambodia .Fou trh ,the Review on the l
a r u tl u c o i c o
S Condiiton o fCambodiaexplains thesociocutlura llfieinCambodia d
n
a surroundingareas .Laslty ,Theoreitca lFrameworkexplainst hecontirbuitono f e
h
t theo ire sgivenandt heappilcaitono fthoset heo iresi nt hiss tudy .
s e i r o e h T d e t a l e R f o w e i v e R . A
t r a p s i h
T t lle s aboutt het heo ire sandapproach used t oconductt hi sstudy . h
t , y d u t s s i h t n
I e wrtie r use sthe theory o fsymbo,l theory o f cutlure ,and l
a c i g o l o i c o
s approach.
l o b m y S f o y r o e h T . 1
m o r f g n i n a e m t n e r e f fi d s a h t a h t g n i h t a s i l o b m y s t a h t e t a t s s e ir o e h t y n a M
. g n i n a e m l a r e ti l s
(24)
’ s r e d a e r e h t n i s n o it o m e d n a s a e d i e s e h t e k o v e t a h t s li a t e d l a u t c a f s i l o b m y s “ t a h t
m y S . y r o t s e h t f o m r o f y n a d n a g n i h t y n a e b n a c l o b m y S . ” d n i
m boli sno talway sa
I . g n i h t t a e r
g tcan be a simple thing tha tappear sin the story bu tha sa greate r n
i n a e
m g than the rea lthing .He explain sfu trhe rtha t“symbo lm ay be anything ,
t c e j b o e l g n i s a : g n it t e s s ’ y r o t s e h t o t g g e n a m o r
f a repeated type o fobject ,a a
, e p a h s a , e c n a t s b u s l a c s i y h
p gesture ,acolor ,asound ,af ragrance”(p.31) . tI i s t
s o m l
a thesamewtih Per irne( 1969) ,statest ha t“symboli ssomethingt ha tmean s o
t s r e f e r tI . s i ti t a h w n a h t e r o
m anobject ,aperson ,as tiuaiton ,anaciton ,ors ome r e h t o s t n e s e r p e r r o s t s e g g u s t u b y r o t s e h t n i g n i n a e m l a r e ti l a s a h t a h t m e ti r e h t o
” ll e w s a s g n i n a e
m ( 8p. ) 6 Simlialry ,Hasim and Aziez(2010) ,state that ,symbo l r
o s t n e m e t a t s r e h t o f o e s u e h t o t s r e f e
r insrtumentst o r emind thecetrain concept . l
o b m y s
A which i sshor tand concretei sablet o beagoodsubsttiutefo racetrain )
7 7 . p ( n o it c a rt s b a r o t p e c n o c
, ) 7 8 9 1 ( s b o c a J d n a s tr e b o
R state tha tthe meaning o fsymbo li sbeyond I
.f l e s
ti tcan besomething whichi sbiggert han tisefl( p.69) .Fu trhert hey explain g
n i n a e m g n i d n e t x e e h t ll e t o t d e n g i s e d s i m s il o b m y s t a h
t o fsomething (p.279) .
d d a y e h
T tha t“symbol connect sa speciifc thing wtih ideas ,values ,person so r n
e r a p p a e b t o n d l u o w e s i w r e h t o t a h t p i h n o it a l e r t c e ri d a n i e fi l f o s y a
w t .I tcan
e t u ti t s b u
s theelemen tbeings igniifed”( p.279 .) n a m l o H d n a n o m r a H o t g n i d r o c c
A (2009) ,there are two broad type sof t s e g g u s l a s r e v i n u g n i y d o b m e s i l o b m y s t a h t s i t s ri f e h T . s l o b m y s y r a r e ti
l ion o f
,s e l p m a x e r o F . g n i n a e
m avoyagesuggestsl fie ,wate rsuggest seterntiy ,and r oad y
e n r u o j s t s e g g u
(25)
v it s e g g u s e h
t enes so fsymbolsi snotf romquailitesi nherent ,butf romt hewayt he .
) 9 3 5 . p ( . ti s t n e s e r p r o h t u
a According to Rober t and Jacob s a s ctied by ,)
1 1 0 2 ( h i s g n i n a y t s i
L there are two type so fsymbols. The fris tis cutlura lo r d
n a s l o b m y s l a s r e v i n
u the second is p irvate o rcontextua lsymbols .Cutlura lo r s
l o b m y s l a s r e v i n
u are “generally o runiversally recognized and author sreferirng n
o m m o c s i h t n o y l e r m e h t o
t understanding” .P irvateo rcontextua lsymbol sare a
e m c il o b m y s r i e h t n i a g t a h t s n o it p ir c s e d d n a t c e j b o
“ ning wtihin thecontex to f
r o , l a r u tl u c , l a c ir o t s i h n o m m o c m o r f t o n d e v ir e d d n a n o it c if f o k r o w c if i c e p s e h t
. ) 9 . p ( ” d n u o r g s u o i g il e r
ri e h t n o d e s a
B funcitons ,Stanton (1965) ,state stha tone way to give a k
r o w e r u t a r e ti
l the“vividnes so frealtiy” (p.31) is t he usesymbol .s Through t he n
i n a e m s i h s e k a m r o h t u a e h t “ , l o b m y s f o e s
u g visible” (p.31) .Stanton addstha t e
e r h t e r a e r e h
t kind so feffec tinsymbols .Thef risti st ha t“asymbolt ha tappear s g
i s e h t s e n il r e d n u y r o t s e h t f o t n e m o m t n a tr o p m i n a g n ir u
d ni ifcane o f the
f o s u s d n i m e r s e m it l a r e v e s d e t a e p e r l o b m y s a “ s i d n o c e s e h T . ) 1 3 . p ( ” t n e m o m
n i s t n e m e l e t n a t s n o c e m o
s the story’ swo lrd” (p.31) .The las ti s“a symbo ltha t .
) 2 3 . p ( ” e m e h t e h t y fi r a l c r o e n if e d o t s p l e h s t x e t n o c g n i y r a v n i s r u c e r
, r e h tr u
F Stanton (1965 )suggest ssome methodsi n i ntepreting symbolsi n .
s k r o w y r a r e ti
l The ifrs tmethod i snoitng the symbo lwtih the connotaiton ,fo r e b n a c d o h t e m s i h t ,t e Y . ) 2 3 . p ( ” e r u t a N d n a , lr i g , e v o l t s e g g u s s r e w o lf “ e l p m a x e
a c l o b m y s e n o e s u a c e b g n i d a e l s i
m nbeha smoret han onemeanings, f o rexample if
“ re suggest sboth dange rand friendly hea trh” (p.32) .Another method si o“ t .
) 2 3 . p ( ” t x e t n o c s ti o t l i a t e d e h t e r a p m o
(26)
e r a p m o c o t h g u o n e t o n s i ti t u b , d o h t e
m the detali t o ti scontext .Therefore ,we f o l l A . ) 3 3 . p ( ” r e h t o n a e n o o t d e t a l e r e r a s t x e t n o c e s e h t w o h “ e z i n g o c e r o t e v a h
s o h
t e method scan be used to intepre tsymbo lin a ltierary work .However , it
e r p e t n
i ng a symbo li srathe rdfi ifcul;t i ti s“ilke solving a complex puzzle” e
s u n a c e w , e r o f e r e h T . ) 3 3 . p
( othe rsource ,si tcanbe“ou rpreviou sacquaintance t o l p e h t f o e g d e l w o n k r u o , e v o b a e b ir c s e d s ’ d o h t e m e h t , k r o w s ’ r o h t u a e h t h ti w
. ) 3 3 . p ( ” e m e h t e h t f o w o n k e w t a h w , s r e t c a r a h c d n
a Fu trher , he adds tha t
c il o b m y
s a l momen s t can be the key momen to fthe story ,“a single simbo ilc g
n i n a e m s ’ y r o t s e h t p u s m u s t n e m o
m -ort o speak more t echnically, i trepresent s )
4 3 . p ( ” t c il f n o c n i a m e h t f o n o it u l o s e r e h t
n o s n h o J d n a p r A n o d e s a
B (1976), i n i nterpreitng symbol ,s t herearef ou r cauiton sshould beaware by t he readers .The fris tcau iton i st hat t here i sa clue
d n o c e s e h T . ) 2 1 . p ( ” y ll a c il o b m y s n e k a t e b d l u o h s l i a t e d a “ t a h t y r o t s e h t m o r f
e h t f o e l o h w e h t y b d e tr o p p u s e b t s u m l o b m y s y r a r e ti l f o g n i n a e m e h t s i n o it u a c
ri h t e h T . y r o t
s di st heremus tbeadfiferen tmeaningf rom tisl tiera lmeaning .The .)
2 1 . p ( ” g n i n a e m e n o n a h t e r o m e v a h y a m l o b m y s a “ s i n o it u a c t s a l
e r u tl u C f o y r o e h T . 2
( n a m l o H d n a n o m r a H o t g n i d r o c c
A 2009) , “in a state o f nature , g
u r s y lt c e ri d y b s e v i v r u s d n i k n a m u
h gilng wtih the envrionment ;in itme ,the t
n e m e l
e so f tha tsruggle-pracitces ,habtis ,customs ,beilefs , rtadiitons-become .)
4 4 1 . p ( ” e r u tl u c s a n w o n k s i h c i h w f o y d o b e h t ,s n o it u ti t s n
(27)
a h c e r u tl u c e s u a c e b e r u tl u c h s il g n E f o y l s u o ir a v k a e p
s nge sfrom place to place
. e m it o t e m it m o r f d n
a Havliand( 20020 alsos tatest ha tcutlurechangeove ritme . t n e m n o ri v n e e h t e s u a c e b s e m it e m o s , e m it r e v o e g n a h c s e r u tl u c l l
A they
f o n o it c u rt s n i e h t f o t l u s e r e h t s a s e m it e m o s , d e g n a h c s a h h ti w e p o c t s u m
u
o tsiders , o r because value s wtihin the cu tlure have undergone .)
3 5 . p ( n o it a c if i d o m
r e h tr u
F more ,he explainstha tcutlure i srelfected i n people’ sbehavior . tI e il t a h t d lr o w e h t f o s n o it p e c r e p d n a , s f e il e b , s e u l a v t c a rt s b a e h t f o s t s i s n o c “
s ’ e l p o e p d n i h e
b behavio randt ha tarer elfectedi nt hei rbehavior”( p .33) .Headds e
r u tl u c t a h
t i s“sharedbymember so fsociety”( p.33) ,andatfert hatt hey“produce
.) 3 3 . p ( ” y t e i c o s t a h t f o s r e b m e m r e h t o o t e l b i g il l e t n i s i t a h t r o i v a h e
b Inf act , tii s
a c il p m o c r e h t a
r ted to disitnguish between people’ sbehavio rand the absrtac t e l b a v r e s b o t o n s i e r u tl u c “ , e c n e H . d lr o w e h t f o n o it p e c r e p e h t d n a , s f e il e b , s e u l a v
o t e s u e l p o e p t a h t s f e il e b d n a , s e u l a v , s l a e d i d e r a h s e h t r e h t a r t u b r o i v a h e b
t a r e n e g d n a e c n e ir e p x e t e r p r e t n
i e behavio randt ha tarer elfectedi nt hei rbehavior” )
4 3 . p
( .In essenitals ,cutlurei s“the values ,beilefs ,and percep iton sof t hewo lrd a
f o s r e b m e m y b d e r a h
s societyt hattheyuset oi nterpre texpe irenceandgenerate n
i d e t c e lf e r e r a t a h t d n a , r o i v a h e
b thei rbehavior”( p.34 .) )
3 5 9 1 ( l e v y
F ,state stha tthere are three essenita laspect sin cutlure .The t s u m h c i h w d n a , e v i s u l e d n a e lt b u s s i h c i h w g n i h t e m o s s i e r u tl u c e u rt t a h t s i t s ri f
u c a f o y ti l a u q e h t t a h t s i d n o c e s e h T . e l o h w g n i v il a s a d e z i n g o c e r e
b tlurei st he
d e n o ri y l b i c r o f e b t o n n a c , n i a g a , s n o it c n it s i d e r e h w , s e r u tl u c p u o r g r e ll a m s f o m u s
l a n o it a n y n a t a h t s i t s a l e h T . e c n a l a b l a r u tl u c e l o h w e h t g n it c e f f a t u o h ti w t u o
7 1 . p ( e l o h w r e g r a l a f o t r a p s i e r u tl u
(28)
d n a li v a
H (2002) ,statest hat t herearef ou rcharacteirsitc so fcutlure .They s i e r u tl u c d n a , s l o b m y s n o d e s a b s i e r u tl u c , d e n r a e l s i e r u tl u c , d e r a h s s i e r u tl u c e r a
. d e t a r g e t n
i Cutlure can beshared and ti give smeaning t o people’sl fiea sstated :
w o l e
b
e r u tl u
C i sase to fsharedi deals ,values ,andstandard so fbehavior ;tii st he o t e l b i g il l e t n i s l a u d i v i d n i f o s n o it c a e h t s e k a m t a h t r o t a n i m o n e d n o m m o c
e s u a c e B . s e v il r i e h t o t g n i n a e m s e v i g d n a y t e i c o s r i e h t f o s r e b m e m r e h t o
e h
t y shareacommoncutlure ,peoplecanpredic thowothe raremos tilkely u
c ri c n e v i g a n i e v a h e b o
t mstanceandr eac taccordingly( p.34 .)
h c i h w s t p e c n o c t n a tr o p m i o w t e r a y t e i c o s d n a e r u tl u c , c it s ir e t c a r a h c s i h t n I
s a t s u j , y t e i c o s a t u o h ti w e r u tl u c o n e b n a c e r e h t “ , t c a f n I .r e h t o n a e n o d e t a l e r e r a
o n e b n a c e r e h
t societyw tihou tindividuals”( p.34) .Wehavet or eailzetha tcu tlure y
b d e r a h s s
i member so fsociety ,al lo fthose are “no tunfiormtiy” (p.34) .I ti s 4
3 . p ( ” e r u tl u c r e h r o s i h f o n o i s r e v e m a s t c a x e e h t s a h e n o o n e s u a c e
b -35) .
s i c it s ir e t c a r a h c d n o c e s e h
T tha tcutlurei sl earned .Havliandconitnue stha t n
a h t r e h t a r d e n r a e l s i e r u tl u c l l a
“ biologically inhertied” (p.40) .He a s dd tha t n
r a e l n a m u
h s other’ scutlure“bygrowing up wtih ti”( p.40) .Theproces swhen a e
r u tl u
c i spassed to t he nex tgeneraiton i scalled “encutluraiton” (p.40) .Y e,t he t
a h t r e h tr u f s n i a l p x
e “no talll earnedbehaviori scutlural”( p.40) . n
e h
T ex t characteirsitc o f cutlure i s tha t cutlure based on symbols . t
a h t s e t a t s d n a li v a
H languagei st hemosti mpo tran tsymboilcaspec to fcutlure, ti e g a u g n a l t a h t s n i a l p x e e h , r e h tr u F . ) 1 4 . p ( ” s t c e j b o r o f s d r o w f o n o it u ti t s b u s e h t “ s i
. n o it a r e n e g t x e n e h t o t n o it a r e n e g e n o m o r f e r u tl u c e h t ti m s n a rt o t p l e h n a c
n o it a r e n e g e n o m o r f e r u tl u c t i m s n a rt o t e l b a e r a s n a m u h e g a u g n a l h g u o r h T
n I . r e h t o n a o
t paritcular , language make s i t possible to learn from s r e h t o m r o f n i t o n d l u o c e n o , ti t u o h ti W . e c n e ir e p x e d e r a h s , e v it a l u m u c
. ) 1 4 . p ( ” y tr a p a t o n e r e w y e h t h c i h w o t s n e v e t u o b a
(29)
. d e t a r g e t n i s i e r u tl u c s i e r u tl u c f o c it s ir e t c a r a h c t s a l e h
T Inordert oachieve
p e h
t ropelry funcitoning o f cutlure, “tota l harmony o f al l element s i s y
l e t e l p m o c n a h t r e h t a r d e t a m i x o r p p
a achieved”( p.52) .
h c a o r p p A l a c i g o l o i c o S . 3
a y d e n n e K o t g n i d r o c c
A nd Gioia (1999) , there are eigh t criitca l T
. e r u t a r e ti l o t s e h c a o r p p
a hey are formailst , biographical , histo ircal , l
a c i g o l o h c y s
p ,gender ,sociological ,reader-response ,and deconsrtucitonist .Thi s y
d u t
s i srelated to the interaciton among human and between human and the c
o
s iety which produce some symbols .Since symbo land ti ssigni ifcance in the ,
y d u t s s i h t n i d e r o l p x e s i y g o l o i c o
s the wrtie r choose s to use sociologica l d n a , c i m o n o c e , l a r u tl u c e h t n i e r u t a r e ti l s e n i m a x e “ h c a o r p p a s i h T . h c a o r p p a
l a c i g o l o i c o S . ) 5 5 9 1 . p ( ” d e v i e c e r r o n e tt ir w s i t i h c i h w n i t x e t n o c l a c it il o p
h c a o r p p
a also explore sthe relaitonship between atrs and society .Kennedy and p
a s i h t t a h t d d a a i o i
G proachl ook satt hesociologyoft heauthort o evaluatehow a
f o n o i s s e f o r p e h
t wrtie r in a paritcula rmiileu affected wha twa s wirtten . “
o s l a h c a o r p p a l a c i g o l o i c o
S analyze s the socia l contex t o f ltierary works” t x e t r a l u c it r a p a n i s e u l a v l a c it il o p r o , c i m o n o c e , l a r u tl u c e r a y e h t , ) 5 5 9 1 . p (
x e h c a o r p p a l a c i g o l o i c o s t a h t d d a y e h T . s e t o m o r p y lt i c il p x e r o y lt i c il p m
i amine s
n i e c n e i d u a e h t e l o r e h
(30)
f o w e i v e R .
B RelatedStudies
s e s e h t e t a u d a r g r e d n u l a r e v e s e r a e r e h
T int heEngilshLanguageEducaiton ,
m a r g o r P y d u t
S Sanata Dharma Universtiy ,which dea lwtih symbols .However , a
s a h t a h t s i s e h t e n o y l n o s i e r e h t , r e ti r w e h t r o
f relaitonship wtih the issue
s i s e h t e h T . y d u t s s i h t n i d e s s u c s i
d w as w irtten by Ernesa Novtia Listyaningsih . s
i s i s e h t e h t f o e lt it e h
T A Study o fSymbol sin Andrea Hirata’ sThe Rainbow s
p o o r
T .I n hert hesis ,Listyaningsih ,ha sgivendetalie dexplanaitonabou tsymbol ; s
f o s g n i n a e
m ymbols ,funciton so fsymbols ,and how to analyze symbol .s He r li
a t e
d edexplanaitonabouts ymbo lhelps thewrtiert oanalyzesymbolsi nTheClay l
e b r a
M , ewh the rtii sr eallyasymbo lo rnot.
.
C Reviewont heHistorica lBackgroundo fCambodia o
g n it t e s e h
T fThe Clay Marble wa sin Cambodia ,the counrty that si d
e t a c o
l i ntheI ndochinesepeninsula ni SouthEas tAsia .Thi scounrtyi sbordered f l u G e h T d n a , h t u o S d n a t s a E e h t n o m a n t e i V , h tr o n e h t n o s o a L d n a d n a li a h T y b
, n r e t s e w h t u o S e h t n o d n a li a h T f
o in t he middle, t herei sa TonleSap Lake .Thi s n
o it i d n o c d o o g a s a h e k a
l .The ag ircutlure and ifshery around this l ake are very e
h t f o e n o o s l a s i e k a l s i h T . d o o
g setitngs o fthe story in The Clay Marble . t
u o r e d a rt r e v ir d n a d n a lr e v o t n a tr o p m i d i m a s e il a i d o b m a
C e s ilnking Chine to
d e c n e u lf n i s i a i d o b m a C . a i s A t s a e h t u o S d n a a i d n
I b y many Asian cu tlures ,
, a i d o b m a C f o l a ti p a c e h t n i n e e s e b n a c t i ; s e t a t S d e ti n U d n a , h c n e r
F PhnomPenh .
a t a d e h t n o d e s a
(31)
t n a n i m o
d ethnicpopulaitonand t hel anguageo fCambodiaarecalledKhmer .The h
n e P m o n h P s i a i d o b m a C f o y ti c l a ti p a
c ; whichist hel arges tctiyi nCambodia . e
h t n o d e s a
B EnsiklopediI ndonesia ser iGeograif: Asia (1990 )statest ha t t he governmental system in Cambodia i smulitpa try ilbera ldemocracy unde ra
l a n o it u ti t s n o
c monarchy .In the ealry 1970’s ,there wa sa civi lwa rthere .From e
h t , 9 7 9 1 o t 5 7 9
1 KhmerRougei mplemented oneoft hemos tradicaland bruta l w
s i h t g n ir u D . d e t p m e tt a r e v e y t e i c o s f o g n ir u t c u rt s e
r ar ,a tleas t1.5 mliilon
n a i d o b m a
C s were killed o rdied ,a monumenta l rtagedy from which t hecounrty y
r o t s e h t f o d n u o r g k c a b e h t f o e n o s a w r a w s i h T . s r e f f u s l li t
s The Clay Marble .
s d n a s u o h t , r a w s i h t f o e s u a c e
B o fCambodian people lf ed to the Thaliand -m
a
C bodiabordert os avet heril fie .
mFro 1979 t o 1989 ,Cambodia began the proces so frecovery unde rthe m
a n t e i
V -backed regime o fthe People’ sRepubilc o fKampuchea .In the 1990s , n i n o it i d n o c g n i v il e h t d n a y m o n o c e e h T . y m o n o t u a l a c it il o p e h t t o g a i d o b m a C
Cambodiaha ssteadliy i mproved, t hecounrty seemst o be ilving by ti sproverbs , f
e h t t o n r a e F
“ uture ,weepnotf ort hepast” .
l a r u tl u c o i c o S e h t n o w e i v e R .
D Condiitono fCambodia n
i d e t a c o l s i a i d o b m a
C Asia ,exaclty in South Eas tAsia .In South Eas t a
i s
A , ag ircutlure i s the bigges t income fo r the countire s there , including o
s l a s i tI . a i d o b m a
C stated ni theEncyclopedia o fWorldCu tlure sVolumeV Eas t a
i s A t s a e h t u o S d n
a (1993 ,) tha t Cambodia ha s a predominanlty ag ircutlura l u
r e r a m e h t f o t s o m d n a y m o n o c
(32)
y
b EnsiklopediI ndonesias er iGeograf iAsia(1990 ,)whichstatest ha teconomyi n t
s e r a i d o b m a
C s on t heag ircu tluralsector .Thi ssecto rpervade sapproximately 75 t
n e c r e
p from al lof t he l abors .Thi sency ocl pediaalso states t ha t irce dominates e h t g n it a v it l u c e r a e l p o e p n a i d o b m a C e h t f o h c u M . a i d o b m a C n i e r u tl u c ir g a e h t
.) 9 2 1 ( . e c ir
a i s A t s a e h t u o S d n a t s a E V e m u l o V s e r u tl u C d l r o W f o a i d e p o l c y c n E ,) 3 9 9 1
( also add stha tin Cambodia ,people obtain addiitona lfood from rtee ,s .
g n i h s if m o r f o s l a d n a , n e d r a
g There are also ifshing village salong large irver s e
k a L s i h t , p a S e l n o T e k a L d n
a i slocatedi nt hemiddleo fCambodia( p.136) .Lake e
h t f o e n o s e m o c e b o s l a p a S e l n o
T setitngsint henove lTheClayMarble . n
I Asia ,there i salso an acitvtiy called “YORA” .YORA stand sfo rthe .
s n o it c A e c i R f o r a e
Y The las tYORA happened on 2010 .I twa swhole yea r e
c ir e v a s o t d e t a c i d e d s e it i v it c
a i n Asia .There are 14 countire sin Asia which d
e t a r b e l e
c thi sacitviites ,they are :China ,Japan ,Korea ,Cambodia ,Vietnam , , l a p e N , n a t s i k a P , a i d n I , a k n a L i r S , s e n i p p il i h P e h t , a i s e n o d n I , a i s y a l a M , d n a li a h T
r e d n u s i ti d n a a i s A f o e fi l e h t s i e c ir e s u a c e b d e d e e n s a w A R O Y . h s e d a l g n a B d n a
e r e h t 4 0 0 2 n i , g n o h t g n a u R n o d e s a B . t a e r h t e r e v e
s wa san acitvtiy , called
. ” e fi L s i e c i R “ s a w y ti v it c a s i h t f o o tt o m e h t , ) R Y I ( e c i R f o r a e Y l a n o it a n r e t n I
g n i h t t n a tr o p m i t s o m e h t ll it s s i e c ir , e m it s i h t li t n u t a h t w o h s s e it i v it c a o w t e s o h T
i t s o m d n
a mpo trantf oodf o rAsianpeople,i ncludingCambodianpeople.
(33)
e r o e h T .
E itca lFramework y
d u t s s i h
T focuses on the discussion about symbol sand the meaning o f s
l o b m y s e s o h
t in Minfong Ho’ s The Clay Marble. There a re t wo reaserch m
e l b o r
p s t in hi sstudy ,they ea r wha tsymbol sarer evealed i n Minfong Ho’ sThe e
l b r a M y a l
C and the meaning so fthose symbol sin Minfong Ho’ sThe Clay .
e l b r a M
e t a ir p o r p p a e h t e s u o t s d e e n r e ti r w e h t , k r o w y a r e ti l a e z y l a n a o t r e d r o n I
s e s o o h c r e ti r w e h t , y d u t s s i h t n I . e r u t a r e ti l f o h c a o r p p
a sociologicalapproach by
i o i G d n a y d e n n e
K a .Thi sapproach i sapprop irate to be used in t hi sstudy since y
d u t s s i h
t examine sand analyzes l tierature i n t he cutlura lcontext in which ti i s .
d e v i e c e r r o n e tt ir
w Thi sstudyalsoanalyzest hes ocia lconten to fthenovel ,which o
s e u l a v l a r u tl u c t a h w s
i fa symbo lin a paritcula rtex timpilcilty o rexpilcilty .s
e t o m o r p
y r o t s i h e h t f o e m o s d n a n o it a c o l e h t w o n k o t r e d r o n
I o fCambodia ,the
s e s u r e ti r
w review o fhisto ircal background o fCambodia and review on the l
a r u tl u c o i c o
s condiiton o fSouth Eas tAsia. Thedeifniiton so fsymbo lwhich are y
b d e t s e g g u
s Stanton ,Perirne ,Eilas ,and Rober tand Jacob shelp the w irte rto .
l o b m y s e h t e n if e
d Stanton’ sand Arp and Johnson’ stheory help the wrtie rto .
s l o b m y s e s o h t f o g n i n a e m e h t t e r p e t n
i Havliand’st heory abou tcharacte irsitc so f o
t d e s u s i e r u tl u
(34)
0 2
I I I R E T P A H C
Y G O L O D O H T E M
s i h
T chapte rconsist sof t hreepatrs ,namely objec toft hestudy ,approach .
y d u t s e h t f o d o h t e m d n a , y d u t s e h t f
o The objec to fthe study descirbe sthe f
o s n o it p ir c s e d l a c i s y h
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T TheClay Marble .The novel
s a
w wirttenbyMinfongHoin1991.I twasf ris tpublishedi n1992byTime sBook l
a n o it a n r e t n
I and rep irnted in 2004 by Time sEdiitons-Marshal lCavendish ,and e
r o p a g n i S , s n o it i d E h s i d n e v a C l l a h s r a M y b 6 0 0 2 n i d e t n ir p e
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a i d o b m a
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j a safe rplacef ort hem .Finallyt heyf oundar efugeecamp,locatedi n i
a h T f o r e d r o b e h
t -Cambodia. I n t hatr efugeecamp, theya erea bl to getf ree irce d
n a d e e
s otherf reef oods .There ,theym et e wtih othe rCambodianf amiile swh ich d
n u o r g k c a b e m a s e h t e v a
h a s Dara’ sfamliy .When they arirve a tthe refugee e
r e h t , p m a
c i sonef amliy who sharet hei rplaceandt hei r ircet o Dara’sf amliy. I t s
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a e
r yangrywtihhim ,bu tJantusay stha tis ko .Shewi llmakenewt oys rf o them , s
u f e r a r a D t u
b e is t .Fo rDara, t heprevioust oyi smeaningfu.lEverydayDaraand a
m u t n a
J k etoysf romclay .Theymakedollso fSarun andNea .Theyi maginet ha t w
a e N d n a n u r a
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O i sbombedandal loft herefuge sa re rtyingt o a
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t shei sno tsuret ha tshewi nll if d thesamef amliy n
i s
a thatr efugee .Yet ,Jantu f orces Darat o go f romt her efugeecamp and Jantu g sive a clay marble fo rDara .She say s tha tthe marble i sa magic clay marble ,
e l b r a m y a l c t a h t h ti
w she wi ll be a srtong gilr .Then ,Jantu beileves ni Dara’ s t
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a e y e v l e w t a , t s i n o g a t o r p e l a m e
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g n i c a f s lr i g g n u o y l l a e r a o h w , s e r u g if l a rt n e c e h t o d o S . s k o o b r u o f ll a t u o h g u o r h t
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p o t hewo lrd shewrtie sabout ,which i sno t .
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y tr e v o p s a h c u s s t c e j b u s e r u t a m y l e v it a l e r d i o v a t o n s e o d e h s h g u o h tl A
n e r d li h c r o f s l a ir e t a m g n i d a e r t n e ll e c x e s a d e li a h n e e b e v a h s g n it ir w s ' o H , r a w d n a
. s tl u d a g n u o y d n
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t s e v a e w o s l a e h s t u b , h t a e d t n e l o i v d n a y tr e v o p s a h c u s s t n e m e l e r e h s r a
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k o o l o t e l g g u rt s r e h d n a p m a c e e g u f e
r o rherf amliy when shei sseparated mfro .
p m a c e e g u f e r e h t n i g n il l e h s e h t f o e s u a c e b m e h
t There are two research s
m e l b o r
p stated in thi sstudy .They are :(1 )Wha tare the symbol srevealed in s
’ o H g n o f n i
M TheClay Marble? (2 )Wha taret hemeaning soft hese symbols i n s
’ o H g n o f n i
M TheClayMarble? e
s u y d u t s s i h
T d a sociological approach .The wrtie rchose thi sapproach e
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b thestudyanalyzed andexplored ltieraturei nt hecutlura lcontexti nwhich t
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d u t
s ,t hereforethiss tudyusedt womains ources .Thep irmarys ourcewa sanove l
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a s k o o
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e tf
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n e h t n I . d e n il r e d n
u ove,l t he clay marble symboilze sDara’s i nne rsrtength .The d n a , fl e s r e h n i s e v e il e b , e g a r u o c s a h e h S . s h t g n e rt s s a h a r a D s e k a m e l b r a m y a l c
.s e it l u c if fi d r e h e c a f o t e l b a s i e h
s The second symbol i s irce .Ricei soneoft he e
v o n e h t n I . s l o b m y s t n a c if i n g i
s l , irce ha san impo tran tmeaning fo rpeople in e
h t y l n o t o n s i e c i R . p m a c e e g u f e r e h t n i d n a a i d o b m a
C staple food bu talso a e
h T . s s e n r e h t e g o t d n a e p o h f o l o b m y
s thrid symboli s irceseed .Themeaningo f .
e r u t u f e h t n i e fi l f o l o b m y s e h t s i e r e h d e e s e c
ir Throught he irceseed, t herewli l e
b lfie ,no tonly fo rtoday bu talso fo rtomorrow and fo rmany years .The l ast l
o d y a l c s i l o b m y
s ls .In t he nove,l t he clay dolls od tn o appear a smany a s irc e e
c ir d n a d e e
s .Theclay dolls only appear i n chapter xs i and i n t hebeginning o f ,
n e v e s r e t p a h
c buti tshowst het heme soft henovelt hati saboutf amliy .Theclay .
s e u l a v y li m a f f o l o b m y s e h t e r a s ll o
d Those clay doll srepresent Dara’ sand .
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v o r p o t s d n e t n i y d u t s e h
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e l b r a M y a l C e h
T (chapte rtwo) nc a be used in teaching learning acitvtiy fo r h
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a m r a h D a t a n a S s a ti s r e v i n U
e l b r a M y a l C e h
T karya Minfong Ho adalah sebuah nove l tentang a
j o b m a K g n a r o p u d i h n a g n a u jr e
p pada saa t perang . Nove l in i foku s pada r
e p k a n a g n a r o e s n a g n a u jr e
p empuan keci lyangbernamaDaradalammenghadap i l
e k i r a c n e m k u t n u a y n n a g n a u jr e p n a d n a i s g n u g n e p i d a y n u r a b n a p u d i h e
k uarganya
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t u b e s r e t o
H
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P sosiologis . Penuil s memiilh g
n e
m gunakan pendekatan i n ikarenapeneilitan i n imenganailsi sdan menyeildik i . l e v o n m a l a d s il u tr e t g n a y n a a y a d u b e k s k e t n o k n a k a n u g g n e m n a a rt s a s u s e k
i n i n a t a k e d n e
P jugamenganailsis n -liai n liai kebudayaan yang ada dalam sebuah n
u p u a m g n u s g n a l a r a c e s k i a b , s k e
t secara itdak langsung .Sebaga isuatu stud i .
a m a t u r e b m u s a u d n a k a n u g g n e m i n i n a it il e n e p , a k a t s u
p Sumbe ryang petrama u
ti a y r e m ir p r e b m u s h a l a d
a nove lTheClayMarbleyangd tiu il solehMinfongHo . u
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p dalam nove lThe Clay Marble .Simbo lyang petrama adalah kelereng u
ti a y l e v o n m a l a d l u d u j i d a j n e m t a il h a n a t g n e r e l e K . t a il h a n a
t TheClayMarble .
y a n k a m u t a u s a d a i t s a
P ang d tionjolkan dalam penggunaan kata t ersebu tsebaga i . a r a D i ri d m a l a d n a t a u k e k n a k l o b m i y n e m h a n a t g n e r e l e K . i n i l e v o n m a l a d l u d u j
a y a c r e p , i n a r e b m e p g n a r o e s i d a j n e m a r a D t a u b m e m t u b e s r e t t a il h a n a t g n e r e l e K
l u s e k i p a d a h g n e m u p m a m n a d i ri d n e s a y n ir i d a d a
p ti -an kesuilatan dalam .
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h Simbo lyang kedua adalah beras. Dalam novel ii ,n beras bermakna i
d g n a r o i g a b g n it n e
p Kambojadan d ipengungsian. Beras bukan hanya sebaga i l o b m i S . n a a m a s r e b e k n a d n a p a r a h i r a d l o b m i s i a g a b e s a g u j i p a t e t a m a t u n a n a k a m
g n a
y keitga adalah benih padi . Benih padi adalah simbo lkehidupan d imasa i
d a p h i n e b i u l a l e M . n a p e
d ,kehidupan itdakhanyauntuk hairi nit etap ijugauntuk u
h a t a p a r e b e b k u t n u n a k h a b k o s e i r a
h n yang akan datang .Simbo lyang t erakhi r h
a l a d
a boneka t anah ilat .Dalam novel i ni ,bonekat anah ilatmerujuk padasalah u
t a
s tema dalam nove l ini , yatiu tentang keluarga. Boneka tanah ilat n
a k l o b m i y n e
m n -liainlia iyang ada dalam keluarga nd a menggambarkan harapan .
n a p e d a s a m i d a k e r e m a g r a u l e k g n a t n e t a r a D n a d u t n a J
il e n e
P itan in idiharapkan dapa tmenjad iacuan bag ipara penelti iyang l
e v o n a s il a n a g n e
m The Clay Marble .Topik l ain yang dapa tdianailsa dar inove l i
n
i adalahtentangkep irbadian .Peneilitani n idapa tbergunabag ipengajarBahasa s
ir g g n
I untuks iswaSMAkela sXI.I
i c n u k a t a