The Quest of Identity of Kafka Tamura in Haruki Murakami’s Kafka on the Shore.

The Quest of Identity of Kafka Tamura

in Haruki Murakami’s

Kafka on the Shore

A Research Paper

Submitted as Partial Fulfillment of the Requirements for Sarjana Sastra Degree

By:

Nita Nurul Ramadhita 1102076

ENGLISH LANGUAGE AND LITERATURE STUDY PROGRAM

ENGLISH EDUCATION DEPARTMENT

FACULTY OF LANGUAGE AND LITERATURE EDUCATION

INDONESIA UNIVERSITY OF EDUCATION

The Quest of Identity of Kafka Tamura in

Haruki Murakami’s

Kafka on the Shore

Oleh

Nita Nurul Ramadhita

Sebuah skripsi yang diajukan untuk memenuhi salah satu syarat memperoleh gelar Sarjana Sastra pada Fakultas Pendidikan Bahasa dan Sastra

© Nita Nurul Ramadhita 2015 Universitas Pendidikan Indonesia

Agustus 2015

Hak Cipta dilindungi undang-undang.

Skripsi ini tidak boleh diperbanyak seluruhya atau sebagian, dengan dicetak ulang, difoto kopi, atau cara lainnya tanpa ijin dari penulis.

PAGE OF APPROVAL

NITA NURUL RAMADHITA

THE QUEST OF IDENTITY OF KAFKA TAMURA IN

HARUKI MURAKAMI’S KAFKA ON THE SHORE

Approved by:

Supervisor

Dr. R. Safrina Noorman, M.A. NIP. 196207291987032003

Head of English Education Department Faculty of Language and Literature Education

Indonesia University of Education

Dr. R. Safrina Noorman, M.A. NIP. 196207291987032003

ABSTRACT

In order to explore the issue of identity construction of an adolescent character in

Haruki Murakami’s Kafka on the Shore, this research uses Nikolajeva’s (2003) theory

on implicit characterization and Trites’s (2000) theory on identity construction in young adult literature. By employing a narrative approach in a qualitative method which focuses on the analysis of the main character, Kafka Tamura, and his quest of identity, the findings reveal three main points. First, through the implicit characterization depicted in his preferences, Kafka is portrayed as a teenager who

distances himself from the society. Second, the most prominent issue in Kafka’s quest

of identity is triggered by father-centered conflicts. Third, sex and death in this novel are used as the conflicts resolution. From the analysis, it can be concluded that the identity constructed by Kafka in the end of the novel is a compromised identity who learns to accept the norms and values of the society he intends to leave.

Keywords: Adolescent, identity construction, character development, young adult

literature

ABSTRAK

Untuk menelaah isu konstruksi identitas tokoh remaja di novel karangan Haruki Murakami yang berjudul Kafka on the Shore, penelitian ini menggunakan teori yang digagas oleh Nikolajeva (2003) mengenai karakterisasi implisit, dan teori yang digagas oleh Trites (2000) mengenai konstruksi identitas di sastra remaja. Dengan menerapkan pendekatan naratif dalam metode kualitatif yang berfokus pada analisa karakter Kafka Tamura, dan pencarian identitasnya, hasil dari penelitian ini mengungkapkan tiga poin utama. Pertama, melalui karakterisasi implisit yang tercermin dalam preferensinya, Kafka digambarkan sebagai seorang remaja yang menjauhkan dirinya sendiri dari masyarakat. Kedua, isu yang paling menonjol dalam proses pencarian identitas Kafka dipicu oleh konfli-konflik yang berpusat pada tokoh ayah. Ketiga, seks dan kematian dalam novel ini digunakan sebagai resolusi untuk konflik-konflik yang dihadapi Kafka. Dari analisis tersebut, dapat disimpulkan bahwa identitas yang dibuat Kafka di akhir novel adalah identitas yang berkompromi; yang belajar untuk menerima norma-norma dan nilai-nilai dalam masyarakat yang ia ingin tinggalkan sebelumnya.

TABLE OF CONTENTS

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CHAPTER 1 INTRODUCTION

This chapter deals with introductory explanations regarding the research which include the background of the study, the research question, the purpose of the study, the scope of the study, the significance of the study, the research methodology, the clarification of terms, and the organization of the paper.

1.1. Background of the Study

Young adult literature is a genre which is quite hard to be defined. However, some researchers and experts have proposed some definitions of young adult literature (Grenz in Nikolajeva, 1995; Trites, 2000; Trupe, 2006; Fox, 2010; Rosenberg, 2012). Young adult literature is considered as a genre intended for adolescent readers, specifically for individuals between the age of 10 and 19. It can also refer to books which consist of adolescent heroes and heroines (Grenz in Nikolajeva, 1995; Trites, 2000; Trupe 2006). Nikolajeva, as cited in Trites (2000) refers young adult literature in European countries to jeans prose due to ―their emphasis on such artifacts of material culture as clothes, music, and language‖ (p. 7).

Trites (2000) mentions that the genre evolved historically from the term Bildungsroman which is introduced by a German scholar named Wilhelm Dilthey in 1870. It refers to ―a related type of novel in which the adolescent matures to adulthood‖ (pp. 7-11). According to Trupe (2006), the modern young adult literature emerges in the 1960s. In modern sense, the publication of Hinton‘s The Outsiders in 1967 marks young adult literature as literary cannon even though perhaps literary works which are meant for younger readers have been circulated in classical era (Rosenberg, 2012).

Young adult literature covers the recurring theme of coming-of-age, ―an issue with which all young people must engage in on their road to adulthood‖ (Fox, 2010, p. 32). The characters are oftentimes faced with particular events that may trigger them to question the authorities, norms, and established orders. Nevertheless, it depicts how adolescents ―disturb‖

and ―being disturbed‖ by the institution which construct their ―universe‖ (Trites, 2000, p. xiv). Their struggle with the institutions drives them to question their identity. When a child matures to become an adult, they begin to construct meaning of the things they experience. The theme of coming-of-age then deals with the issue of identity which is ―discovered and created through experiences with social systems and exploring one‘s own belief systems and communities‖(Fox, 2010, p. 32).

In constructing their identity, characters are oftentimes faced with their characteristic development. Janovsky (n.d) states that some characters develop throughout the story; they start in one way and end up differently. It proves that by revealing themselves and developing throughout the story, the characters become more complex. Researchers have conducted studies which connect the quest of identity with character development. According to their studies, in the process of its construction, identity changes along with the context and influences it and it is evolving to adapt through fragmentation of time into events which is collected from past to future (Kellner, 1992; Bauman, 1996; Gauntlett, 2002;).

To explore the issue of identity in young adult literature, this study uses a novel entitled Kafka on the Shore. Kafka on the Shore is written by Haruki Murakami, a Japanese well-known author, which was first published in 2002 in Japanese and translated into English by Jay Rubin in 2005. This novel has been categorized as one of the ‘10 Best Books of 2005‘ by The New York Times (Updike, 2005; New York Times, 2005). As young adult literature, Kafka on the Shore triggers what Rosenberg (2012) called ‗sense of self‘. Rosenberg emphasizes that the goal of forming identity is to be able to define one‘s self (p.7). This statement is in line with what Kafka goes through as mentioned in the back cover of the novel. Kafka Tamura is described as a fifteen year old boy who is encountering an adolescent phase. He runs away from his home to elude his father‘s oedipal prophecy in which he develops his personal values and judgments. Murakami creates another protagonist, an aging simpleton called Satoru Nakata, who also encounters an adventure when he tries to find a missing cat as his job. Nakata‘s journey

seems to indicate that, like Kafka, he also runs away from his life to find the ‗sense of self‘ and to gather what has been missing from his life.

From the summary in the back cover of the novel, it shows that Kafka on the Shore is a complex story with a unique type of narrative. Based on the explanation presented above, it may be said that Kafka on the Shore has a psychoanalytical tendency. However, there are still some other perspectives in approaching Kafka on the Shore which have not been explored. Therefore, this study is conducted to disclose the quest of identity and character development addressed in the novel by using the view point of young adult literature.

1.2. Research Question

This study focuses on the issue of identity and character development of the main protagonist, Kafka Tamura, in Kafka on the Shore to answer this following question:

 How is Kafka‘s quest of constructing an identity depicted in the novel?

1.3. Purpose of the Study

This study aims to explore the issue of identity quest of the main protagonist character, Kafka Tamura, in Haruki Murakami‘s Kafka on the Shore and how his character develops in the process from the perspective of young adult literature. In addition to giving a description or depiction of the identity quest, this study discusses what the quest means and its contribution to Kafka‘s character development.

1.4. Scope of the Study

The analysis of the quest of identity and character development is limited around the main protagonist character of Haruki Murakami‘s Kafka on the Shore. Supporting characters, antagonist characters, and nonhuman characters‘ analysis may be presented briefly to support the analysis of the protagonists, not to be included as the focus of attention in the study. The

study also explores and treats Kafka on the Shore as a young adult literary work which focuses on the growth and development of the main character.

1.5. Significance of the Study

The result of this study is expected to give contribution to critical analysis of prose and young adult/adolescent literature, especially in terms of identity quest and character development. Further research regarding the quest of identity and character development is highly suggested to enrich the issue of identity in other characters of Kafka on the Shore, other novels, and/or literary works.

1.6. Research Method

This study will use a narrative approach in a qualitative method which will be descriptive and explanatory. This study will involve a critical analysis which seeks answer to the questions by examining various aspects of the novel (Sandelowski, 1991; Reisman, 1993). Sandelowski suggests that a narrative approach can give insight on how stories disclose a human being‘s experience in life.

This is the reason that this approach is chosen because it will be suitable for this study because it will help to discover and explore the identity issue in Kafka on the Shore.

1.6.1. Data Collection

Firstly, the data are gathered by identifying Kafka Tamura‘s characterization at the beginning of the novel. Secondly, the conflicts which appear in the plot of the novel, including the conflict between Kafka and other characters, and also the conflict between Kafka and himself (inner conflict), will be highlighted. After that, the highlighted conflicts will be identified as milestone in Kafka‘s quest of constructing a new identity. The amnesia that is experienced by Kafka will also be highlighted. The final step is to see how Kafka resolves each conflict, and how the conflicts contribute to his quest of identity and development. Since

qualitative method is the preferable method to be used in this study, literary journals and critics will be secondary sources as the references to analyze the novel. After that, the data will be transcribed, described, and lastly concluded to see whether or not the study meets a satisfactory outcome.

1.6.2. Data Analysis

Some textual evidences will be framed by using the chosen frameworks. First, Kafka‘s characterization will be analyzed by adapting several models of narrative characters. The issue of identity will be explored. The novel will be interpreted as a young adult literary work by using Trites‘s (2000) point of view on young adult literature. The analysis will be focusing on the way Kafka resolves the conflicts that he faces during his identity quest, and whether or not he is able to overcome his coming-of-age phase after he constructs his identity. There are three main points which will be the foci of attention: (1) authority figures; (2) Kafka‘s psychosocial development; and (3) peer influence. Lastly, the conclusion will be presented to see whether or not this study successfully meets its purposes and can be considered satisfactory.

1.7. Clarification of Terms

Some terms in this study may cause confusion and misunderstanding regarding the topics, contents, and/or concepts of this study, therefore this clarification of terms is presented to avoid the aforementioned matters. Those terms are:

1.7.1. Adolescence

Adolescence is a stage of an individual which is marked by certain gradual changes and transitions. As they develop, they are influenced by external factors, such as: ―parents, peers, community, culture, religion, school, world events and the media‖ (Spano, 2004, par. 1). Spano has divided adolescence phase into three sub-phases: the early adolescence (approximately 10-14 years of age), middle

adolescence (approximately 15-16 years of age), and late adolescence (approximately 17-21 years of age) in which adolescents show development in their area of interest.

1.7.2. Coming of Age

Coming of age, a recurrent theme which is oftentimes found in young adult literature, is a term used to describe an issue representing a transition from childhood to adulthood (Rosenberg, 2012). Rosenberg explains that ―Coming of age presents an opportunity to grow toward adulthood and gain certain power and privileges, while simultaneously losing certain power and privileges‖ (p. 6). It means that in order to experience coming of age phase, a child needs to experience his/her struggle to overcome power and also his/her state of being subdued by the power around him/her.

1.7.3. Identity

Hall (as cited in Du Gay et al, 2000) states that identity can be defined as characteristic attributes or expected behaviors that are never unified and fragmented. According to Barker (2000), identity is both ―personal‖ or ―social‖ which differentiate us or ―mark‖ us from other people (p. 166). Further, Barker points out that ―…identity is concerned with sameness and difference, with the personal and the social and with forms of representation‖ (p. 166)

Further explanation regarding these key terms will be presented in chapter two.

1.8. Organization of the Paper

This study is composed in this following organization: 1. Abstract

This section functions as summary of the paper presenting brief information about the content that will be elaborated further in the next sections.

This chapter deals with the background of the study explaining what drives the writer to analyze the chosen topic, the purpose or personal intention of the writer in writing the study, the significance of the study describing what will be the study‘s contribution in an individual or a society, and presentation of research questions.

3. Literature Review

This part of the study examines the bases of theories (theoretical framework) used in the study and also what other researchers have found in the earlier studies.

4. Methodology

This section presents the methods used in the study and also the details such as: who are involved, where the data are obtained, and how the data are collected.

5. Findings and Discussion

This chapter deals with the findings when the study or analysis is finished.

6. Conclusion

This section sums up all the information from the chapters and concludes an idea as the result of the analysis. In this section, suggestions for further research are also presented.

CHAPTER 2 LITERATURE REVIEW

2.1. Theoretical Framework

2.1.1. Young Adult Literature

Many researchers believe that young adult literature is a

type of genre which does not have an exact definition. Young adult literature is oftentimes considered as a genre which is intended for adolescent readers or individuals between the age of 10 and 19. It can also refer to books which consist of adolescent heroes and heroines (Grenz in Nikolajeva, 1995; Trites, 2000; Trupe 2006). In a different point of view, young adult literature can also be categorized as a jeans prose according to Nikolajeva (cited in Trites (2000)). Nikolajeva refers young adult literature in European countries to jeans prose due to ―their emphasis on such artifacts of material culture as clothes, music, and language‖ (p. 7).

Stallworth (2006, p. 59), as cited in Zdilla as cited in Alsup (2010), young adult literature is a ―electrifying genre‖ to make this era‘s adolescents explore their identity through reading literary works. It means that this genre is intended to make teens relate to the story and initiate to try out new things based on what they have read. According to Zdilla, young adult literature serves a significant purpose, which is to offer ―a transition from children‘s literature into the world of adult literature‖ (p. 195).

Zdilla presents a comprehensive list of young adult literature‘s characterization which is compiled by Herz and Gallo (pp. 10-11). The characteristics are:

a. The main characters are teenagers.

b. The length of the average book is around 200 pages, though it may be as brief as 100 pages or as long as 900 pages. c. The point of view is most often first person, and it is usually

that of a teenager.

d. The narrator is most often the main character.

e. The story is usually told in the voice of a teenager, not the voice of an adult looking back as a young person.

f. The language is typical of contemporary teenagers, and the vocabulary is manageable by readers of average ability. g. The setting is most often contemporary, but also can be

historical, futuristic (as in science fiction), or imaginative (as in fantasy)

h. The books contain characters and issues to which teenagers can relate.

i. In a majority of the books, parents play a minor role or are ―the enemy.‖

j. The plot and literary style are uncomplicated but never simplistic, though the plots of a few books are quite complex. k. The outcome of the story is usually dependent upon the

l. The tone and outcome of the novels are usually upbeat, but not in all instances.

m. With the exception of complicated plotting, all the traditional literary elements typical of classical literature are present in most contemporary novels for young adults— well-rounded characters, flashbacks, foreshadowing, allusions, irony, metaphorical language—though they are used less frequently and at less sophisticated levels to match the experiential levels of readers.

n. The very best YA books can be as appealing to adult readers as they are to teens.

(Zdilla, pp. 194–195) 2.1.1.1. The Brief History of Young Adult Literature

Young adult literature is originated in the twentieth century indicated with the use of the word ―adolescent‖ which was common usage in postbellum America (Trites, 2000, p. 8). Literature which is specifically written and intended for

The genre evolved historically from the term Bildungsroman which is introduced by a German scholar named Wilhelm Dilthey in 1870. It refers to ―a related type of novel in which the adolescent matures to adulthood‖ (pp. 7-11). There is a significant difference between Bildungsroman and Entwicklungsroman.

Entwicklungs-roman is a broad category of novels which depicts the growth of an adolescent character. Basically, Entwicklungsromane can be considered as novels of development, whereas Bildungsromane are novels which consist of coming of age issues, and they are sometimes referred to as ―apprenticeship novels‖ (p. 10).

2.1.2. Character and Characterization 2.1.3. Identity

Definition of identity and questions regarding the subject have been widely debated in social theory. However, Hall (as cited in Du Gay et al, 2000) states that identity can be defined as characteristic attributes or expected behaviors that are never unified and fragmented. Among the arguments of answering ‗what is identity?‘, the issue of identity then emerges as an important theme of Cultural Studies in 1990s (Barker, 2000, p.165). In comprehending identity, the correlation and indivisible concept of identity and subjectivity are important to be remembered. They refer to certain conditions and processes of becoming a person. There are two types identity, which are self-identity (the idea one holds to one‘s self) and social identity (other‘s expectation) which both use ‗narrative‘ and ‗story-like‘ form. Identity is expressed through forms of representation; therefore, it can be considered as an ‗essence‘ which can be signified through signs. Barker also

emphasizes that identity ―is best understood not as fixed entity but as an emotionally charge description of ourselves‖ (pp. 165-166). In relation with issue of identity, Olsson (1999) analyses Foucault‘s notion about identities that identities are ‗representation‘ or ‗fixation‘ that are neither fixed nor stable (as cited in Torres, 2008, p. 2).

2.1.4 Erik Erikson’s Psychosocial Development

2.2. Previous Research

Wattanagun and Chotiudompant (2009) have conducted research on the quest and reconstruction of identity in Kafka on the Shore. In their research, they present two view points of the quest of identity depicted in the novel. By showing identity quest in a capitalist society, the characters of Hoshino and Nakata reveal that individual identity is constructed by symbolic consumption which may lead into alienation. In contrast with Hoshino and Nakata, the character of Kafka Tamura develops by delving deep down into his inner realm, and his identity is constructed through redefinition of others‘ stories or memories.

In his analysis of Kafka on the Shore, Jeng (2008) shares the similar topic of individuality with Wattanagun and Chotiudompant. What distinguishes them is the center of attention of the analysis. Jeng focuses on the amnesia which refers to the deconstruction of narrative order. Based on Jeng‘s analysis, amnesia is a result of a gesture of denial to the main

protagonists‘ traumatic experience. He also connects the taboo of incest and patricide to personal recognition in discovering new identities for them.

Another research on Murakami‘s works is conducted by Atkins (2012). Atkins, in her thesis about literary landscape in Murakami‘s works, focuses on time and space which hold important meanings. In Kafka on the Shore, for example, Murakami uses forest and woods to ―evoke the past, the lost, and the dead‖ (p. 97). He also explores the concept of time by using precise ―recording of events‖ to blur the ―real and unreal‖, and distinguish the ―psyche and reality‖ (p. 161). By analyzing the significance of time and space in constructing the characterization of the two protagonists, Kafka and Nakata, Atkins points out that ―Murakami adds deeper and textured dimension to the story of Kafka‘s self-introspection and the transformative experience of his conscious‖ (p. 163).

CHAPTER III

RESEARCH METHODOLOGY

This chapter focuses on the research methodology which includes the explanation regarding the method applied in the study. It revolves around the research design, research question, research procedures, data presentation, and synopsis of the novel.

3.1. Research Design

This study will use a descriptive qualitative method that will involve a critical analysis which seeks answer to the questions by examining various aspects of the novel (Sandelowski, 1991; Riessman, 1993). As Creswell (2003) suggests, the data which are in the form of words, phrases, and sentences are selected as textual evidences to be reported in a subjective way.

The principle of qualitative research emphasizes that every finding must be based on data; therefore findings become more valid before stated as a theory (Alwasilah, 2002). In addition, according to Hancock (2002), the data of qualitative method are used to develop the theories that people used to comprehend an issue or subject in a study. Hence, the data that are collected in this study are used to elaborate the concepts and theories that have been mentioned and explained in the previous chapter regarding the theoretical framework.

Therefore, this approach was suitable for this study because it helped to discover and explore the identity issue in Kafka on the Shore.

3.2. Research Question

This study focuses on the issue of identity of the main protagonist, Kafka Tamura, in Kafka on the Shore to answer this following question:

 How is Kafka‟s quest of constructing an identity depicted in the novel?

3.3. Research Procedure

The procedure of the analysis of the identity construction in Kafka on the Shore revolves in at least four steps.

The first step is doing close reading to Kafka on the Shore and paying attention to three main points which will be analyzed, they are: characterization, conflicts, and young adult issue. The results of the close reading, which are presented in the form of textual evidence, are collected and categorized into the three main points by using tables. The function of the tables is to make the process of analysis easier.

The second step is determining Kafka‟s characterization by using Nikolajeva‟s (1998) theory on character and characterization to see the description of Kafka by implementing the mode of presentation of implicit characterization.

This characterization will be the reference to Kafka‟s character development

throughout the story.

The third step is interpreting and analyzing some selected conflicts by implementing Trites‟s (2000) theoretical perspective on identity formation in young adult literature, and the analysis focuses on the contribution of power and repression in constructing an identity. This step will investigate the institutional discourse, figures of authority, sex and sexuality, and death in Kafka on the Shore. Lastly, after the analysis is conducted, conclusion will be drawn to see how identity construction is addressed in the novel, and whether or not Kafka has successfully grown.

3.4. Data Presentation

The data are presented in the form of table to show the embedded issue regarding identity construction, the events in which the issue occurs, the textual evidence to support the interpretation, and the analysis.

There two types of tables in this study. The first one is the table which

presents Kafka‟s characterization in the story, and the second one presents the

embedded issue in young adult literature to explore Kafka‟s quest of identity. The

Table 3.1. Characterization Analysis

No. Elements of Implicit Characterization

Devices Events Textual

Evidence

Analysis

1. Proper names The name Kafka Tamura

In the first encounter with Sakura on his way to Takamatsu, Sakura asks him about his name.

Kafka receives a phone call when he‟s staying in the library where Oshima works. At first,

Oshima doesn‟t know his name so he just assumes that he is the one the caller asks for.

….”what‟s your name?” I asked. …

“Sakura,” she says. “What about you?”

“Kafka Tamura,” I reply.

“Kafka Tamura,” she muses. “Weird name. Easy to remember, though.”

(chapter 5, p. 34) “Kafka

Tamura?” (Oshima) “That‟s my name.”

“Kind of strange.” “Well, that’s my

name,” I insist. (chapter 7, p. 61)

As Japanese people, Sakura and Oshima both think that the name “Kafka” sounds strange and weird because the name, which is pronounce as “Kafuka” in Japanese vernacular, is considered as an unorthodox name for a Japanese. It is seen that Kafka chooses the name which is not from where he lives (Japan), and it can be presumed that Kafka chooses the name as means to leave his own identity as a Japanese.

Kafka asks Oshima to listen to Miss Saeki‟s record and Oshima tells him the record‟s title is „Kafka on the Shore‟

“But Kafka isn‟t my real name. Tamura is, though.”

“But you chose it yourself, right?” (Oshima)

I nod. I decided a long time ago that this was the right name for the new me.

(chapter 17, 167) “Nobody‟s going

This excerpt shows that Kafka‟s name is closely connected with identity construction. Kafka chooses the name himself to describe his new self. By choosing a name himself and consistently committing in using the name, Kafka shows his determination as someone who is ready to construct his own identity.

brings up a topic about sport which leads to Kafka‟s belief that in order to survive, one must be strong.

to help me. At least no one has up till now. So I have to make it on my own. I have to get stronger—like a stray crow.

That’s why I

gave myself the name Kafka. That‟s what Kafka means in Czech, you know—

crow.”

“Hmm,” she says, mildly impressed. “So, you‟re Crow?”

“That‟s right,” I say.

(chapter 33, p. 330)

“Kafka”, Kafka sees himself as a stray crow that lived on its own. Kafka thinks that nobody would help him therefore he loses hope in people and decides to make himself stronger.

In Japanese culture, crows can be considered as pests. Thus, by relating himself to stray crows, it can be said that Kafka is alienated from the society.

Crows also symbolize divine intervention in Japanese culture due to the three legged crow legend which tells about how crows help a hero by giving him suggestions to win a war. I think Kafka‟s alter-ego Crow also has the same role. He advises Kafka when he has trouble and directs Kafka

throughout his journey. Besides that, in several cultures, crows symbolize a bad omen or prophetic insights which also exist in the story. Kafka is cursed by his father to kill his own father and violate his own mother and sister, therefore, the omen becomes part of his identity.

Table 3.2. Kafka’s Quest of Identity Analysis

No. YAL Issue Contributing Characters/

Elements

Description of Events

Textual Evidence Analysis

1. Insitutional issue

School Kafka tells about his school life

The facts and techniques or whatever they teach you in class isn't going to be very useful in the real

This excerpt depicts Crow‟s perspective about school. From Crow‟s (Kafka‟s alter-ego) perspective, it can be seen that he is cynical towards schools and

world, that's for sure. Let's face it,

teachers are

basically a bunch of morons. But you've

got to remember this: you're running away from home. You probably won't have any chance to go to school anymore, so like it or not you'd better

absorb whatever you can while you've got the chance.

Become like a sheet of blotting paper and soak it all in. Later on you can figure out what to keep and what to unload.

…

I focused on every word said in class and let it all sink in, figured out what it meant, and

committed everything to memory.

(chapter 1, p. 9-10)

teachers. The perspective is also ironic because Crow thinks that school will not be useful, but on the contrary, he advised Kafka to “absorb whatever you can”. It means that he seems to suggest that school is useless, but he actually realizes that “chance to go to school” is also important. Moreover, Kafka seems to follow Crow‟s suggestion which is seen in the way he focused in his study and “figure out what it meant” as the proof of his determination. It can be concluded that Kafka‟s alter-ego has a resistance towards school but the resistance is not clear since Crow still suggests Kafka to study while he‟s still got a chance. As Crow

suggests, Kafka uses the knowledge in school as part of his “tools” in preparing himself in his rebellion, which is running away from home.

2. Authority figures Kafka‟s Father Before running away, Kafka sees his own reflection in the mirror and he thinks about what connects him with his family

I gaze carefully at my face in the mirror. Genes I'd gotten from my father and mother--not that I have any recollection of what she looked like--created this face. … I'm stuck with my father's long, thick eyebrows and the deep lines between them. I could probably kill him if I wanted to--I'm sure strong enough--and I can

In this excerpt, Kafka shows resistance towards the authority figures. It is seen in how Kafka seems to hate everything that has become his identity, for example DNA and thick eyebrows, because it is related to his parents. Therefore, he thinks that to be someone else means he has to get rid of his current identity that is constructed by his parents. Thus, it can be said that the genes represent his parents‟ power over him. The genes are like predestined fate

Kafka tells Oshima about his feeling towards his physical

from my memory. But there's no way to erase the DNA they passed down to me. If I wanted to drive that away I'd have to get rid of me.

(chapter 1, p. 11) "Oshima, to tell you the unvarnished truth, I don't like the container I'm stuck in. Never have. I hate it, in fact. My face, my hands, my blood, my genes... I hate everything I inherited from my parents. I'd like nothing better than to escape it all, like running away from home."

(chapter 27, p. 278)

about him. They also become a wall for him that blocks him to be free and to construct his own identity.

In this excerpt, Kafka tells Oshima that he feels running away from his home can help him to escape from his parents‟ repression.

3. Sex and sexuality

The idea of sex Kafka and Oshima talk about Kafka‟s father‟s prophecy

"My father told me there was nothing I could do to escape this fate. That prophecy is like a timing device buried inside my genes, and nothing can ever change it. I will kill my father and be with my mother and sister."

(chapter 21, p. 212)

In this excerpt, Kafka‟s father‟s curse seems to influence Kafka in his perspective towards sex. Kafka is introduced to the concept of sex by his father through his prophecy which insinuates him that he will “be with” his mother and sister.

4. Death and grief

Kafka‟s father After spending some time in the woods, Kafka goes back to the library and read the news about his father‟s murder

"Correct me if I'm wrong," Oshima says, "but you don't seem too sad your father was

murdered." "No, I do feel sad. He's my father, after all. But what I really regret is that he didn't die sooner. …”

The line that says “what I really regret is that he didn‟t die sooner” may represent Kafka‟s anger towards his father‟s prophecy. If his father is died earlier, he will not have been prophesized to kill his own father and violate his mother and sister.

(chapter 21, p. 209)

3.5. Kafka on the Shore Synopsis

Kafka on the Shore consists of two distinct yet interrelated narrations of a 15-year-old named Kafka Tamura and an aging simpleton named Satoru Nakata. The

odd numbered chapters tell about Kafka‟s journey during his runaway to elude the oedipal omen prophesized by his own father. The even numbered chapters tell about Satoru Nakata who encounters a traumatic experience when he was a child, and fulfils a bizarre mission.

Kafka on the Shore is chosen not only because the hero in this novel is a fifteen year old boy who is encountering an adolescent phase, but he also has a certain complexity that, in my opinion, reflects the difficulties of coming of age phase in this time. Also, by analyzing identity construction in Kafka on the Shore, it is assumed that contemporary young adult novels are globally influenced. As a Japanese young adult novel, Kafka on the Shore seems to concentrate more on the

identity construction of the main protagonist rather than promoting Japanese‟

social or cultural values. Thus, it is assumed that Kafka on the Shore can provide data of how the hero in the novel constructs his identity by using the view point of young adult literature.

CHAPTER V CONCLUSION

This chapter presents the conclusion derived from the analysis that has been conducted and reported in the previous chapter. This chapter includes the summary of the result of analysis regarding the quest of identity and character development of Kafka Tamura in Kafka on the Shore, and also suggestions for further research.

5.1. Conclusions

In exploring the issue of identity construction in Kafka on the Shore by Haruki Murakami, this study employs two main theories. Nikolajeva’s (2003) concept of implicit characterization is used in this analysis in order to explore the kind of identity that Kafka intends to construct based on his preferences. Another theory

used in this analysis is Trites’s (2000) theory on identity construction in young adult literature. This theory is employed as the tool to explore the identity construction of the main protagonist in the novel. The results of the analysis show that in order to grow, teenagers may have to construct their identity by way of: (1) constructing a character who distances himself from the society; (2) establishing father-centered issues; and (3) using sex and death as the resolution to the conflicts.

From the results of the analysis, it can be concluded that Haruki

Murakami’s Kafka on the Shore can be considered as young adult literature. It can be seen from the issues faced by the main protagonist which show the characteristic of a young adult literature. The main protagonist in this novel undergoes a quest of constructing his identity as the result of his resistance towards authority figures.

In this story, Murakami shows his inclination towards the dominant society. Even though he gives a space for the teenage character in his story to develop themselves, the text implies that in the end even the most rebellious teenager has to make compromises. It seems that Murakami tries to implement the

idea that teenagers need to be challenged with some experiences that are deviant

to the dominant culture’s norms and values.

Despite the controversial issues which are presented in this novel, conventional values are still preferable in the dominant culture. As portrayed in this novel, teenagers will only mature when they have successfully constructed a compromised identity; an identity that accepts the power of the society and appropriates itself to the values and expectations of the society.

Therefore, even though Haruki Murakami is well-known for breaking the conventional way of writing, the content of this particular story proves otherwise. It appears that this particular story is very conventional and it abides by the dominant culture.

5.2. Suggestions

This study aims to explore Kafka on the Shore in the perspective of young adult literature. However, since the most prominent issue in this novel is the father-centered conflicts, it would be better if the issue is explored by using psychoanalysis since the theory of identity construction in young adult literature cannot explore the issue deeply. Also, since there is a limitation of the subject of analysis which only focuses on Kafka Tamura’s identity construction, it is

suggested that Satoru Nakata’s presence in the novel as the other main protagonist

is also explored. Hopefully, this research can give a beneficial contribution to the study of young adult literature, and an inspiration for those who are doing similar research.

REFERENCES

Abrams, M. H. (1999). A glossary of literary terms (7th ed.). US: Heinie & Heinie.

Alwasilah, A.C. (2002). Pokoknya kualitatif: Dasar-dasar merancang dan melakukan penelitian kualitatif. Jakarta: PT Dunia Pustaka Jaya. Atkins, M. T. (2012). Time and space reconsidered: The literary landscape of

Murakami Haruki (Unpublished doctoral dissertation) University of London, London. Retrieved from http://eprints.soas.ac.uk/15631 Barker, C. (2000). Cultural studies: Theory and practice. London: SAGE

Publications Ltd.

Cresswell, J.W. (2003). Reseach design: Qualitative, quantitative, and mixed method approaches. New York: Sage Publication Ltd.

Crows in Japan: Menace or guide of the gods?. (2012, February 26). The Japan chronicles. Retrieved from

http://thejapanchronicles.blogspot.com/2012/02/crows-in-japan-menace- or-guide-of-gods.html#.VZ_ap0YpruF

Fox, A.J. (2010). Girls coming of age: Possibilites and potentials within young adult literature. College of Liberal Arts & Social Sciences Theses and Dissertations, 34. Retrieved from http://via.library.depaul.edu/etd/34 Grenz, D. (1995). Literature for young people and the novel of adolescence.

In M. Nikolajeva (Ed.), Aspects and issues in the history of children's literature (pp. 173-182). Westport, CT: Greenwood Publishing Group, Inc. Hall, S. (2000). Who needs identity?. In P. Du Gay, J. Evans, & P. Redman

(Eds.). Identity: A reader (pp. 9-30). London: SAGE Publications Ltd. Hancock, S. (2002). An introduction to qualitative research (2nd ed.). Nottingham:

Trent Focus Group.

Hunt, S. A, Tolmie, D. F, & Zimmermann, R. (2013). An introduction to character & characterization in John and related new testament. In S. A. Hunt, D. F. Tolmie, & R. Zimmermann (eds.). Character studies in the forth Gospel: Narrative Approach to Seventy Figures in John (pp. 1-33). Germany: Mohr Siebek Tübingen.

Janovsky, A. Character in literature: Definition, types & development. Education- portal.com. Retrieved from

http://education-portal.com/academy/lesson/character-in-literature-definition-types-development.html#lesson

Jannidis, F. (2009). Character. In P. Hühn, J. Pier, W. Schmid, & J. Schönert (eds.). The handbook of narratology. New York, NY: Walter de Gruyter. Jeng, L.F. (2008). Amnesia in Murakami's Kafka on the shore. Colloquium on

Diaspora and Asian Fiction. 1-11. Retrieved from

http://zephyr.nsysu.edu.tw/researchcenter2/.../Japan%2001--Amnesia.pdf Monahan, K. D. (2009). Influence of technology on adolescent development and

spiritual formation (Unpublished doctoral dissertation). Liberty University, USA.

Murakami, H. (2005). Kafka on the shore. (P. Gabriel, Trans.). New York, NY: Vintage International. (Original work published 2002).

Nikolajeva, M. (2003). The rhetoric of character in children’s literature. USA: Scarecrow Press, Inc.

Rosenberg, N. (2012). The coming-of-age of young adult literature: Adolescence, culture, and narrative (Essay), 7. Retrieved from

https://www.academia.edu/5833024/The_Coming-of-Age_of_Young_Adult_Literature_Adolescence_Culture_and_Narrative Riessman, C. K. (1993). Narrative analysis. Newbury Park, CA: Sage.

Sandelowski, M. (1991). Telling stories: Narrative approaches in qualitative research. IMAGE: Journal of Nursing Scholarship, 23(3), 163. Retrieved from http://academic.son.wisc.edu/courses/N701/week/

sandelowski_tellingstories.pdf

Stretcher, M. (2011). At the critical stage: A report on the state of Murakami Haruki studies. Literature Compass, 8(11), 856-869. DOI: 10.1111/j.1741-4113.2011.00856.x .

The 10 best books of 2005. (2005, December 11). The new york times. Retrieved from

Japan National Tourism Organization. (n.d). Three-legged crows. JAPAN: The official Guide. Retrieved from

http://www.jnto.go.jp/eng/indepth/cultural/feeljapanesque/kumano.html Trites, R. S. (2000). Disturbing the universe: Power and repression in

Adolescent literature. Iowa: University of Iowa Press.

Trupe, A. (2006). Thematic guide to young adult literature. Westport, CT: Greenwood Publishing Groups, Inc.

Updike, J. (2005, January 24). Subconscious tunnels: Haruki Murakami’s dreamlike new novel. The new yorker. Retrieved from

http://www.newyorker.com/magazine/2005/01/24/subconscious-tunnels Wattanagun, K., & Chotiudompant, S. (2009). The quest and reconstruction of

identity in Haruki Murakami’s Kafka on the Shore. Journal of Humanities, 12(1), 26-39

Zdilla, G. (2010). The appeal of young adult literature in late adolescence: College freshmen read YAL. In J. Alsup (ed.). Young adult literature and adolescent identity across cultures and classrooms: Context for literary lives of teens (pp. 191-203). New York, NY: Taylor & Francis.

Nita Nurul Ramadhita, 2015

The Quest of Identity of Kafka Tamura in Haruki Murakami’s Kafka on the Shore Universitas Pendidikan Indonesia | repository.upi.edu | perpustakaan.upi.edu

(chapter 21, p. 209)

3.5. Kafka on the Shore Synopsis

Kafka on the Shore consists of two distinct yet interrelated narrations of a 15-year-old named Kafka Tamura and an aging simpleton named Satoru Nakata. The odd numbered chapters tell about Kafka‟s journey during his runaway to elude the oedipal omen prophesized by his own father. The even numbered chapters tell about Satoru Nakata who encounters a traumatic experience when he was a child, and fulfils a bizarre mission.

Kafka on the Shore is chosen not only because the hero in this novel is a fifteen year old boy who is encountering an adolescent phase, but he also has a certain complexity that, in my opinion, reflects the difficulties of coming of age phase in this time. Also, by analyzing identity construction in Kafka on the Shore, it is assumed that contemporary young adult novels are globally influenced. As a Japanese young adult novel, Kafka on the Shore seems to concentrate more on the identity construction of the main protagonist rather than promoting Japanese‟ social or cultural values. Thus, it is assumed that Kafka on the Shore can provide data of how the hero in the novel constructs his identity by using the view point of young adult literature.

Nita Nurul Ramadhita, 2015

The Quest of Identity of Kafka Tamura in Haruki Murakami’s Kafka on the Shore Universitas Pendidikan Indonesia | repository.upi.edu | perpustakaan.upi.edu

CHAPTER V CONCLUSION

This chapter presents the conclusion derived from the analysis that has been conducted and reported in the previous chapter. This chapter includes the summary of the result of analysis regarding the quest of identity and character development of Kafka Tamura in Kafka on the Shore, and also suggestions for further research.

5.1. Conclusions

In exploring the issue of identity construction in Kafka on the Shore by Haruki Murakami, this study employs two main theories. Nikolajeva’s (2003) concept of implicit characterization is used in this analysis in order to explore the kind of identity that Kafka intends to construct based on his preferences. Another theory

used in this analysis is Trites’s (2000) theory on identity construction in young

adult literature. This theory is employed as the tool to explore the identity construction of the main protagonist in the novel. The results of the analysis show that in order to grow, teenagers may have to construct their identity by way of: (1) constructing a character who distances himself from the society; (2) establishing father-centered issues; and (3) using sex and death as the resolution to the conflicts.

From the results of the analysis, it can be concluded that Haruki

Murakami’s Kafka on the Shore can be considered as young adult literature. It can

be seen from the issues faced by the main protagonist which show the characteristic of a young adult literature. The main protagonist in this novel undergoes a quest of constructing his identity as the result of his resistance towards authority figures.

In this story, Murakami shows his inclination towards the dominant society. Even though he gives a space for the teenage character in his story to develop themselves, the text implies that in the end even the most rebellious teenager has to make compromises. It seems that Murakami tries to implement the

Nita Nurul Ramadhita, 2015

The Quest of Identity of Kafka Tamura in Haruki Murakami’s Kafka on the Shore Universitas Pendidikan Indonesia | repository.upi.edu | perpustakaan.upi.edu

idea that teenagers need to be challenged with some experiences that are deviant to the dominant culture’s norms and values.

Despite the controversial issues which are presented in this novel, conventional values are still preferable in the dominant culture. As portrayed in this novel, teenagers will only mature when they have successfully constructed a compromised identity; an identity that accepts the power of the society and appropriates itself to the values and expectations of the society.

Therefore, even though Haruki Murakami is well-known for breaking the conventional way of writing, the content of this particular story proves otherwise. It appears that this particular story is very conventional and it abides by the dominant culture.

5.2. Suggestions

This study aims to explore Kafka on the Shore in the perspective of young adult literature. However, since the most prominent issue in this novel is the father-centered conflicts, it would be better if the issue is explored by using psychoanalysis since the theory of identity construction in young adult literature cannot explore the issue deeply. Also, since there is a limitation of the subject of analysis which only focuses on Kafka Tamura’s identity construction, it is suggested that Satoru Nakata’s presence in the novel as the other main protagonist is also explored. Hopefully, this research can give a beneficial contribution to the study of young adult literature, and an inspiration for those who are doing similar research.

Nita Nurul Ramadhita, 2015

The Quest of Identity of Kafka Tamura in Haruki Murakami’s Kafka on the Shore Universitas Pendidikan Indonesia | repository.upi.edu | perpustakaan.upi.edu

REFERENCES

Abrams, M. H. (1999). A glossary of literary terms (7th ed.). US: Heinie & Heinie.

Alwasilah, A.C. (2002). Pokoknya kualitatif: Dasar-dasar merancang dan melakukan penelitian kualitatif. Jakarta: PT Dunia Pustaka Jaya. Atkins, M. T. (2012). Time and space reconsidered: The literary landscape of

Murakami Haruki (Unpublished doctoral dissertation) University of London, London. Retrieved from http://eprints.soas.ac.uk/15631 Barker, C. (2000). Cultural studies: Theory and practice. London: SAGE

Publications Ltd.

Cresswell, J.W. (2003). Reseach design: Qualitative, quantitative, and mixed method approaches. New York: Sage Publication Ltd.

Crows in Japan: Menace or guide of the gods?. (2012, February 26). The Japan chronicles. Retrieved from

http://thejapanchronicles.blogspot.com/2012/02/crows-in-japan-menace- or-guide-of-gods.html#.VZ_ap0YpruF

Fox, A.J. (2010). Girls coming of age: Possibilites and potentials within young adult literature. College of Liberal Arts & Social Sciences Theses and Dissertations, 34. Retrieved from http://via.library.depaul.edu/etd/34 Grenz, D. (1995). Literature for young people and the novel of adolescence.

In M. Nikolajeva (Ed.), Aspects and issues in the history of children's literature (pp. 173-182). Westport, CT: Greenwood Publishing Group, Inc. Hall, S. (2000). Who needs identity?. In P. Du Gay, J. Evans, & P. Redman

(Eds.). Identity: A reader (pp. 9-30). London: SAGE Publications Ltd. Hancock, S. (2002). An introduction to qualitative research (2nd ed.). Nottingham:

Trent Focus Group.

Hunt, S. A, Tolmie, D. F, & Zimmermann, R. (2013). An introduction to character & characterization in John and related new testament. In S. A. Hunt, D. F. Tolmie, & R. Zimmermann (eds.). Character studies in the forth Gospel: Narrative Approach to Seventy Figures in John (pp. 1-33). Germany: Mohr Siebek Tübingen.

Nita Nurul Ramadhita, 2015

The Quest of Identity of Kafka Tamura in Haruki Murakami’s Kafka on the Shore Universitas Pendidikan Indonesia | repository.upi.edu | perpustakaan.upi.edu

Janovsky, A. Character in literature: Definition, types & development. Education- portal.com. Retrieved from

http://education-portal.com/academy/lesson/character-in-literature-definition-types-development.html#lesson

Jannidis, F. (2009). Character. In P. Hühn, J. Pier, W. Schmid, & J. Schönert (eds.). The handbook of narratology. New York, NY: Walter de Gruyter. Jeng, L.F. (2008). Amnesia in Murakami's Kafka on the shore. Colloquium on

Diaspora and Asian Fiction. 1-11. Retrieved from

http://zephyr.nsysu.edu.tw/researchcenter2/.../Japan%2001--Amnesia.pdf Monahan, K. D. (2009). Influence of technology on adolescent development and

spiritual formation (Unpublished doctoral dissertation). Liberty University, USA.

Murakami, H. (2005). Kafka on the shore. (P. Gabriel, Trans.). New York, NY: Vintage International. (Original work published 2002).

Nikolajeva, M. (2003). The rhetoric of character in children’s literature. USA: Scarecrow Press, Inc.

Rosenberg, N. (2012). The coming-of-age of young adult literature: Adolescence, culture, and narrative (Essay), 7. Retrieved from

https://www.academia.edu/5833024/The_Coming-of-Age_of_Young_Adult_Literature_Adolescence_Culture_and_Narrative Riessman, C. K. (1993). Narrative analysis. Newbury Park, CA: Sage.

Sandelowski, M. (1991). Telling stories: Narrative approaches in qualitative research. IMAGE: Journal of Nursing Scholarship, 23(3), 163. Retrieved from http://academic.son.wisc.edu/courses/N701/week/

sandelowski_tellingstories.pdf

Stretcher, M. (2011). At the critical stage: A report on the state of Murakami Haruki studies. Literature Compass, 8(11), 856-869. DOI: 10.1111/j.1741-4113.2011.00856.x .

The 10 best books of 2005. (2005, December 11). The new york times. Retrieved from

Nita Nurul Ramadhita, 2015

The Quest of Identity of Kafka Tamura in Haruki Murakami’s Kafka on the Shore Universitas Pendidikan Indonesia | repository.upi.edu | perpustakaan.upi.edu

Japan National Tourism Organization. (n.d). Three-legged crows. JAPAN: The official Guide. Retrieved from

http://www.jnto.go.jp/eng/indepth/cultural/feeljapanesque/kumano.html Trites, R. S. (2000). Disturbing the universe: Power and repression in

Adolescent literature. Iowa: University of Iowa Press.

Trupe, A. (2006). Thematic guide to young adult literature. Westport, CT: Greenwood Publishing Groups, Inc.

Updike, J. (2005, January 24). Subconscious tunnels: Haruki Murakami’s dreamlike new novel. The new yorker. Retrieved from

http://www.newyorker.com/magazine/2005/01/24/subconscious-tunnels Wattanagun, K., & Chotiudompant, S. (2009). The quest and reconstruction of

identity in Haruki Murakami’s Kafka on the Shore. Journal of Humanities, 12(1), 26-39

Zdilla, G. (2010). The appeal of young adult literature in late adolescence: College freshmen read YAL. In J. Alsup (ed.). Young adult literature and adolescent identity across cultures and classrooms: Context for literary lives of teens (pp. 191-203). New York, NY: Taylor & Francis.