OLD MAN AND THE SEA NOVEL Abstrak - THE LAKOFFIAN CONCEPTUAL METAPHOR ANALYSIS OF ERNEST HEMINGWAY’S THE OLD MAN AND THE SEA NOVEL - Test Repository
Judul skripsi : THE LAKOFFIAN CONCEPTUAL METAPHOR ANALYSIS OF ERNEST HEMINGWAY’S THE OLD MAN AND THE SEA NOVEL Abstrak
:
Nurjannah, Diyan Putri. 2018. THELAKOFFIANCONCEPTUAL METAPHOR
ANALYSIS OF ERNEST HEMINGWAY’S THE OLD MAN AND THE SEA NOVEL. Counselor: Faizal Risdianto, S.S., M.Hum.
Keywords: Semantic, Metaphor, Conceptual Metaphor
This study mainly describes the semantic roles in the case Lakoffian conceptual metaphor i n the Ernest Hemingway’s The Old Man and The Sea novel. The objectives of the study are (1)To find out the types of Lakoffian conceptual metaphors found in The Old Man and The Sea novel by Ernest Hemingway, (2)To analyze the most dominant types of Lakoffian conceptual metaphors found in The Old Man and The Sea novel by Ernest Hemingway. The object of this study was The Old Man and The Sea Novel by Ernest Hemingway. The findings of this research are following: There were 8 Lakoffian conceptual metaphors in The Old Man and The Sea Novel of Ernest Hemingway. From the eight conceptual metaphors, the researcher does the analysis toward 21 sentences in The Old Man and The Sea Novel by Ernest Hemingway. Moreover, the 21 metaphors have their own meaning according the contexts draws by the author in The Old Man and The Sea novel by Ernest Hemingway.
Pengarang :
a. : Diyan Putri Nurjannah Nama
b. E-mail Pembimbing : a. Nama : Faizal Risdianto, S.S., M. Hum.
b. E-mail : [email protected]
Fakultas : Fakultas Tarbiyah dan Ilmu Keguruan
Jurusan : Pendidikan Bahasa Inggris Jumlah hlm: 56 halaman
“THE LAKOFFIAN CONCEPTUAL METAPHOR ANALYSIS
OF ERNEST HEMINGWAY’S THE OLD MAN AND THE SEA
NOVEL”
A GRADUATING PAPER
Submitted to the Board Examiners as a Partial Fulfillment of the
Requirement for the Degree of Sarjana Pendidikan (S.Pd.) in English
Education Department
State Institute for Islamic Studies (IAIN) Salatiga
DIYAN PUTRI NURJANNAH
113 11 013
ENGLISH EDUCATION DEPARTMENT
TEACHER TRAINING AND EDUCATION FACULTY
STATE INSTITUTE FOR ISLAMIC STUDIES (IAIN)
SALATIGA
2018
MOTTO
“No matter who we are, the most important thing is what we
can do for other people”
-Diyan Putri Nurjannah-
DEDICATION
This graduating paper is dedicated to: This graduating paper is dedicated to the people who mean a lot to me, my parents, Bapak Subandi, and Ibu Priyanti, for showing faith in meand giving me the liberty to choose what I desired. I salute you all for the selfless love, care, pain,and sacrifice youdid to shape my life. I would never be able to pay back the love and affection showered upon by my parents. Also, Iexpress my thanks to my brother and sister Yusuf, Yesi, andLilih, thanks for their love, support,and her valuable prayers. I consider myself the luckiest in the world to have such a lovely and caring family,standing beside me with their love and unconditional support.
I owe thanks to a very special gift, my son, Dhafin for his continued and unfailing love, and support. You were always around at times. I thought that it is impossible to continue, you helped me to keep strong every single day. Words would never say how grateful I am to you
It’s my fortune to gratefully acknowledge the support of my friends, Faza, Adin, Rizky, Puji, Lutfi for theirsupport. They were always beside me during the happy andhard moments to push me and motivate me. Special thanks are extended to Indah Ratna for her co-operation and support that made the completion of this graduating paper possible..
Acknowledgment
Bismillaahirrahmaanirrahiim,
Assalamualaikum, Wr.Wb
In the name of Allah, The Most Gracious and The Most Merciful, The Lord of Universe. Because of Him, the researcher could finish this graduating paper as one of the requirements for SarjanaPendidikanin English Education Department of Teacher Training and Education Faculty of State Institute for Islamic Studies (IAIN) Salatiga.
Secondly, peace and salutation always be given to our prophet Muhammad SAW who has guided us from the darkness to the lightness. However, this success would not be achieved without supports, guidance, advice, helps, and encouragements from individual and institution, and the researcher somehow realize that an appropriate moment for me to deepest gratitude for:
1. RahmatHariyadi, M. Pd. as the Rector of State Institute for Islamic Studies (IAIN) Salatiga
2. Suwardi, M. Pd. as the Dean of Teacher Training and Education Faculty
3. Noor Malihah, Ph. D. as the Head of English Education Department
4. FaizalRisdianto, M. Hum as a counselor who has educated, supported, directed and given the researcher advice, suggestions, and recommendations for this graduating paper from the beginning until the end.
5. All of the lecturers in the English Education Department. Thanks for your education.
6. All of the staffs who have helped the researcher in the processing of graduating
paper administration7. All of my close friends who I could not mention one by one Finally, this graduating paper is expected to be able to provide useful knowledge and information to the readers. Moreover, the researcher is pleased to accept more suggestions and contributions from the readers for the improvement of the graduating paper.
th
Salatiga, 28 May 2018
The Researcher Diyan Putri Nurjannah
NIM.113 11 013
ABSTRACT
Nurjannah, DiyanPutri. 2018. THELAKOFFIANCONCEPTUAL METAPHOR
ANALYSIS OF ERNEST HEMINGWAY’S THE OLD MAN AND THE SEA NOVEL. Counselor: FaizalRisdianto, S.S., M.Hum.
Keywords: Semantic, Metaphor, Conceptual Metaphor
This study mainly describes the semantic roles in the case Lakoffian conceptual metaphor in the Ernest Hemingway’s The Old Man and The Sea novel. The objectives of the study are (1)To find out the types of Lakoffianconceptual metaphors found in The Old Man and The Sea novel by Ernest Hemingway, (2)To analyze the most dominant types of Lakoffianconceptual metaphors found in The Old Man and The Sea novel by Ernest Hemingway. The object of this study was The Old Man and The Sea Novel by Ernest Hemingway. The findings of this research are following: There were 8 Lakoffianconceptual metaphors in The Old Man and The Sea Novel of Ernest Hemingway. From the eight conceptual metaphors, the researcher does the analysis toward 21 sentences in The Old Man and The Sea Novel by Ernest Hemingway. Moreover, the 21 metaphors have their own meaning according the contexts draws by the author in The Old Man and The Sea novel by Ernest Hemingway.
TABLE OF CONTENT
COVER ………………………………………………………………………………………………………………………..i DECLARATION………………………………………………………………………………………………………...ii
ATTENTIVE COUNSELOR’S NOTE……………………………………………….……………………….iii
CERTIFICATION PAGE …………………………………………………………………………………………….iv MOTTO ………………………………………………………………………………………………………………………..vDEDICATION ……………………………………………………………………………………………………………..vi
ACKNOWLEDGMENT ………………………………………………………………………………………………vii
ABSTRACT …………………………………………………………………………………………………………………viii LIST FIGURE AND TABLE …………………………………………………………………………………………ix
REFERENCES
LIST FIGURE AND TABLE
Table 4.1. Data result…………..……………..………………………………… 27Table 5.1. Number of concept ual metaphor…….……………………………… 46CHAPTER I INTRODUCTION A. Background of the Research Human as a socialbeing needs the language to communicate with
others. Language is people intelligent that very needed by them (Gardner taken in Sukardi, 2005:67). It means that language is the way people express their reaction toa certain situation, reveal our thoughts, ideas, emotions,and feelings. Therefore, it is difficult for people to communicate without language.
Meanwhile, in order to build a good communication, it is needed an understanding between the speaker and the listener. The objective of the understanding is to encourage the indication of something that is known as meaning. Meaning is very important to understand. The listener has to comprehend the meaning that speaker says in order to avoid misunderstanding of the word.
Kreidler (2002:2) states that there are three disciplines are concerned with the systematic study of meaning in itself: psychology, philosophy, and linguistics. In this research, the researcher is focusing on the discussion of the study of meaning learn in linguistics. Kreidler (2002:3) adds that linguistics want to understand how the language works. Linguistics is concerned with identifying the meaningful elements of specific languages. Linguistics also deals with the meanings expressed by modulations of a speaker’s voice and the processes by which hearers and readers relate new information to the information they already have.
The study of meaning in linguistics is known as semantics. Semantics is the systematic study of meaning, and linguistic semantics is the study of how languages organize and express meaningsKreidler (2002:3). Meaning in semantics divided into two parts, literal meaning,and non-literal meaning. Literal means based on the actual words, while non- literal is the other way around. There are two numbers ofways in expressing ideas which deviate from the semantics convention, some of them including the use of idiom and figurative language.
The term figurative language, there is a metaphor inside. In the other word, the metaphor is one part of the figurative language which is the most common and widely used. In literature, metaphor as one of stylistic elements does not convey merely ideas. According to Subroto (1986:45), metaphorical expression can be categorized as a metaphor if it can give a new enjoyment and enliven inanimate object, and actualizing something which actually crippled or paralyzed. Moreover, Subroto (1995:39) adds that metaphor is created particularly based on the similarity of two referents.
In the other discussion about metaphor, Lakoff and Johnson (2003:4) introducing the conceptual metaphor. The metaphor is for most people a device of the poetic imagination and the rhetorical flourish a matter of extraordinary rather than ordinary language. Moreover, the metaphor is typically viewed as characteristic of language alone, a matter of words rather than thought or action. For this reason, most people think they can get along perfectly well without metaphor. We have found, on the contrary, that metaphor is pervasive in everyday life, not just in language but in thought and action. Our ordinary conceptual system, in terms of which we both think and act, is fundamentally metaphorical in nature.
The concepts that govern our thought are not just matters of the intellect. They also govern our everyday functioning, down to the most mundane details. Our concepts structure what we perceive, how we get around in the world, and how we relate to other people. Our conceptual system thus plays a central role in defining our everyday realities. If we are right in suggesting that our conceptual system is largely metaphorical, then the way we think, what we experience, and what we do every day is very much a matter of metaphor.
Therefore, metaphor also becomes a tool for literary writers to adorn and give color to their works. The metaphor also used widely in philosophy, religion, politics, commerce, history, and art. The novel is a part of the art. Metaphor can be found also in the novel. According to Scholes in Hartoko (1984:17), the novel is a story related to the obvious or fiction imagined by the writers through their observation of the reality.
Therefore, the researcher concluded that novel including literary works.
“The Old Man and The Sea” novel by Ernest Hemingway built an optimistic for whom who read the novel. This novel writes by the author when he lived in Kuba and achieve Pulitzer trophy 1953 for fiction category and Award of Merit Medal for Novel from America which conveys him to achieve Literature Nobel 1954. The researcher decided to use this American novel as the object of analysis because some metaphor was found and it is assumed that there are many metaphors existed in the novel which is interesting to be analyzed semantically.
Therefore, by concerning on the background above, the researcher inter ested to do the research entitled “THE LAKOFFIAN CONCEPTUAL
METAPHOR ANALYSIS OF ERNEST HEMINGWAY’S THE OLD MAN AND THE SEA NOVEL” B.
Problem questions of the research
Based on the background of the research above, the researcher formulates the problems of the study as follows:
1. How many types of Lakoffianconceptual metaphor found in The Old Man and The Sea novel by Ernest Hemingway?
2. What are the most dominant types of Lakoffianconceptual metaphor in The Old Man and the Sea novel by Ernest Hemingway?
C. Objectives of the research
There are two objectives which are expected to be achieved from this research, those are:
1. To find out the types of Lakoffianconceptual metaphors found in The Old Man and The Sea novel by Ernest Hemingway.
2. To analyze the most dominant types of Lakoffianconceptual metaphors found in The Old Man and The Sea novel by Ernest Hemingway.
D. Limitation of the research
The limitation needs to be set to avoid misdirection or further research on this topic. The analysis of this research focused on conceptual metaphors and their most dominant types found in The Old Man and The Sea novel by Ernest Hemingway.
E. Benefits of the research
The researcher expects that the results of the research are useful for:
1. The researcher
The researcher will get more knowledge and new experience in literary works.
2. The reader
The result of this research can be used as a reference for other reader and also the reader will get new information and experiences.
3. Another researcher The results of this research expected to give some knowledge and references for whom which do the relevant research.
F. Method of the research
The researcher decided to use quantitative research to answer the problem questions of the research.According to Hadi (1981: 221), research methodology is a scientific method to collect the data with a goal and certain application. In the other word, research methodology is the way the research use to collect the data, analyze the data, and make a conclusion from the data which has collected.
G. Definition of key terms
To avoid misunderstanding, the researcher gives explanations or definitions of some key terms used in the research.
1. Semantics In brief, semantics means the study of meaning. However, the word meaning have the wide perceptions and there are no general agreements among experts about the way in which it should be described. Bright (1992:394) has states that semantics is the study and representation of the meaning of language expression and the relationship of meaning among them. Semantics has been parts of linguistics.
2. Metaphor The metaphor is an implicit comparison in which two, unlike objects, are compared by identification or substitution of one for the other to suggest common quality shared by the two. Goatly (1997:8) states that metaphor occurs when the unit of discourse is used to refer unconventionally way.Tarijan (1995:121) adds that metaphor a brief comparison figure of speech in which there are two ideas inside. The first is the fact, according to the feelings, and become an object. The second is the comparison of the fact, and it will replace the first.
The metaphor is the best choice for describing reality when literal language cannot.The metaphor is a kind of figurative language which uses connotative meaning through the comparison without using the word “like” or “as”. The metaphor is considered difficult especially in understanding the meaning. It depends on the background knowledge of the readers. It needs a deeper attention since the comparison is conveyed implicitly. In brief, the researcher concludes that metaphor including semantics expression in the way the reader understand the meaning built by the sentences inform figurative language.
3. Conceptual Metaphor The metaphor is for most people a device of the poetic imagination and the rhetorical flourish
—a matter of extraordinary rather than ordinary language. Moreover, the metaphor is typically viewed as characteristics of language alone, a matter of words rather than thought or action. For this reason, most people think they can get along perfectly well without metaphor. We have found, on the contrary, that metaphor is pervasive in everyday life, not just in language but in thought and action. Our ordinary conceptual system, in terms of which we both think and act, is fundamentally metaphorical in nature.
The concepts that govern our thought are not just matters of the intellect. They also govern our everyday functioning, down to the most mundane details. Our concepts structure what we perceive, how we get around in the world, and how we relate to other people. Our conceptual system thus plays a central role in defining our everyday realities. If we are right in suggesting that our conceptual system is largely metaphorical, then the way we think, what we experience, and what we do every day is very much a matter of metaphor.
4. Analysis
The analysis in this research means scientific process breaking the word into its element (root and affixes) of the new words.
CHAPTER II THEORETICAL REVIEW A. SEMANTICS 1. Definition of Semantic According to Kreidler(1998:3) Semantics is the
systematic study of meaning, and linguistic semantics is the study of how languages organize and express meanings. Linguistic semantics is the topic of this research, but we need to limit ourselves to the expression of meanings in a single language. We have to make comparisons with other languages, but these are meant to be illustrative of language differences, not full accounts of what differences exist.
Meaning in semantics divided into two parts, literal meaning,and non-literal meaning. Literal means based on the actual words, while non-literal is the other way around. There are two numbers of ways in expressing ideas which deviate from the semantics convention, some of them including the use of idiom and figurative language.
2. Semantics Representation Approach
Goddart and Schalley (2010:95) introduced the semantics representation approaches. The explanation is as follow : a. Logical Approach
Logical approaches to meaning generally address problems in compositionality, on the assumption that the meaning of supralexicalexpressions are determined by the meaning of their part and the way in which those part are combined. Logic predicate also includes specification of valid conclusions or inferences.
b. Discourse Representation Theory Discourse representation theory (DRT) was developed in the early 1980s by Kamp (1981) (cf. Kamp andReyle 1993;
Blackburn and Bos 1999; van Eijck 2006; Geurts and Beaver 2008) in order to capture thesemantics of discourses or texts, that is, coherent sequences of sentences or utterances, as opposed toisolated sentences or utterances. The basic idea is that as a discourse or text unfolds the hearer buildsup a mental representation (represented by a so-called discourse representation structure, DRS), andthat every incoming sentence prompts additions to this representation. It is thus a dynamic approach tonatural language semantics.
c.
Pustejovsky’sGenerative Lexicon Pustejovsky’s Generative Lexicon theory aims to provide an adequate description of how ourlanguage expressions have content, and how this content appears to undergo continuous modification and modulation in new contexts.
d. Natural Semantic Metalanguage Natural semantic metalanguage (NSM) is a decompositional system based on empirically established semantic primes, that is simple indefinable meanings which appear to be present as word-meanings in alllanguages. The NSM system uses a metalanguage, which is essentially a standardized subset of natural language: asmall subset of word- meaning, together with a subset of their associated syntactic (combinatorial) properties.
e. Object-Oriented Semantics
Object-oriented semantics is a new field in linguistic semantics. Although it is rather restricted inits semantic application domains so far mainly applied to the representation of verbal meaning itpromises to become relevant for NLP applications in the future, and due to the large body of research incomputer science, a wealth of resources is already available for object-oriented systems in general.
The term figurative language, there is a metaphor inside. In the other word, the metaphor is one part of the figurative language which is the most common and widely used. In literature, metaphor as one of stylistic elements does not convey merely ideas. Therefore, metaphor also becomes a tool for literary writers to adorn and give color to their works.
The metaphor also used widely in philosophy, religion, politics, commerce, history, and art. The discussion of metaphor will be discussed in the next chapter.
B. METAPHOR
The metaphor is a kind of figurative language which uses connotative meaning through the comparison without using the word “like” or “as”. The metaphor is considered difficult especially in understanding the meaning. It depends on the background knowledge of the readers. It needs a deeper attention since the comparison is conveyed implicitly.
According to Lakoff and Johnson (2003:4), Metaphor for most people is a device of the poetic imagination and the rhetorical flourish a matter of extraordinary rather than ordinary language. Moreover, the metaphor is typically viewed as characteristic of language alone, a matter of words rather than thought or action. This may become the reason why metaphor contains connotative meaning rather than denotative.
Moreover, Armstrong (2005:189) states that a metaphor is an implicit comparison, most often using imagery. It means that metaphor is a kind of figurative language comparing two objects implicitly.
According to Lakoff and Johnson (2003:152), the metaphor could be divided into conventional metaphor and a new metaphor.
They are explained below.
1) Conventio na l metaphor.
It is often based on correlations which are perceived in daily experience. That is metaphors that structured the ordinary conceptual system of culture, which is reflected in everyday language. For exampleTime is running out.
2) New Metaphor.
It is a metaphor which could create new meaning. This kind of metaphor is capable of giving a new understanding of experience. The new metaphor is an active metaphor which is more creative and imaginative.
For exampleYou are my sun Ullmann (1972:213) explains that the basic structure of metaphor is very simple. There are two terms presents, the things we are talking about and that to which we are comparing it. In addition, Subroto (1995:38) explains that metaphor is created particularly based on the similarity of two referents. The first referent in called tenor and the second is called vehicle. Moreover, Pradopo (1987: 66) states that categorically metaphor consists of two terms, main term or tenor (principal term) and the second term or vehicle (second term). The main term or tenor tells about the comparison or the things compared.
Then it is said that metaphor sees things by the medium of other entities. This metaphor explains something with the same result which actually has a different meaning. It can be concluded that metaphor divided into two forms, they are tenor and vehicle.
After discussing the definition of metaphor, the researcher will also present the conceptual metaphor adapted from George Lakoff and Mark Johnson which it becomes the focus study in this research. The further discussion about conceptual metaphor presents in the next chapter.
C. CONCEPTUAL METAPHOR
In cognitive linguistics, conceptual metaphor, or cognitive metaphor, refers to the understanding of one idea, or conceptual domain, in terms of another. An example of this is the understanding of quantity in terms of directionality, for example "the price of peace is or the understanding of time in terms of money, for example "I
rising" spent time at work today" .
A conceptual domain can be any coherent organization of human experience. The regularity with which different languages employ the same metaphors, which often appear to be perceptually based, has led to the hypothesis that the mapping between conceptual domains corresponds to neural mappings in the brain.
Lakoff and Johnson introducing the conceptual metaphor through their book entitled Metaphor We Live By. According to Lakoff and Johnson (2003:4), Metaphor is for most people a device of the poetic imagination and the rhetorical flourish a matter of extraordinary rather than ordinary language. Moreover, the metaphor is typically viewed as characteristic of language alone, a matter of words rather than thought or action. For this reason, most people think they can get along perfectly well without metaphor. We have found, on the contrary, that metaphor is pervasive in everyday life, not just in language but in thought and action. Our ordinary conceptual system, in terms of which we both think and act, is fundamentally metaphorical in nature.
The concepts that govern our thought are not just matters of the intellect. They also govern our everyday functioning, down to the most mundane details. Our concepts structure what we perceive, how we get around in the world, and how we relate to other people. Our conceptual system thus plays a central role in defining our everyday realities. If we are right in suggesting that our conceptual system is largely metaphorical, then the way we think, what we experience, and what we do every day is very much a matter of metaphor.
It is the way we understand metaphor through the concept of mapping. The mapping processes of two domains that participle in conceptual metaphor has special names. Kovecses (2002:4) adds that “the conceptual domain from which we draw metaphorical expressions that to understand another conceptual domain is called source domain, while the conceptual domain that understands this way is the target domain
”. By this condition, these domains will bring us into the comprehension of the concept of the metaphor and map each other.
Source domains consist of common entities, attributes, processes and relationships, such as “The human body, Health and Illness, Animal, Plants, Building and Construction,
Movement and Direction”Kovecses (2002:16-21). While the notion of target domain is the abstract concept at once needs to be explained by the structure of source domain through conceptual metaphor, they are Emotion, Desire, Morality, Thought, Society, Economy, Politics, Human Relationship, Communication, and Religion, Kovecses(2002:21-25). In the mapping process, they are believed as one structure that has a relationship to contract with each other.
Further, an understanding of conceptual metaphor comes from Lakoff and Johnson’s (1980). They note that “LOVE IS JOURNEY”. The concept of LIVE IS A JOURNEY can be understood as a mapping from a source domain (JOURNEY) to a target domain (LOVE). From the example above, the concept of love is far from the concept of JOURNEY. LOVE cannot be understood as the image of traveling. However, the concept of JOURNEY can construct the concept of LOVE. It means LOVE now can be understood imaginatively as the concept of “going somewhere”.
Then, the concept can be realized in metaphorical expressions. Here is an example,“We can go through this anymore”, t he word “go through” can be referred to the street that we usually pass. It means that the word
“we cannot” bring the relationship any further of the JOURNEY. In this interpretation, the concept of LOVE is conceptualized by everyday experience something into another thing in a metaphor is called a conceptual metaphor. Technically, the conceptual metaphor brings us to the process of reasoning of the concept of revealing the meaning of metaphor itself.
D. PREVIOUS STUDY
There are some people who have written about linguistics analysis similar to the researcher do. In this study, the researcher takes previous studies from other studies. As the comparison is the research from Amin (2015) entitled “Conceptual metaphor and the study of conceptual change: research synthesis and future directions”. This research discusses the relevance of the conceptual metaphor perspective to the study of conceptual change. This paper first presents a broad sketch of the study of conceptual change, characterizing the goals of this body of work, its contributions to date, and identifying open questions. Next, the literature on conceptual metaphor in science education is reviewed against this background. The review clarifies the natural theoretical connections between the conceptual metaphor perspective and the phenomenon of conceptual change.Thepaper concludes with a discussion of further avenues for research into conceptual change, suggested by adopting a conceptual metaphor perspective.
The second research comes from Putri (2013). She has done the research entitled “Metaphorical Expressions in Andre Hirata’s and John Colombo’s Edensor”. In general, this research is intended to know how the metaphoricalexpression in Bahasa Indonesia is translated into English. The method of the research is the qualitative approach. The researcher uses fro m Andrea Hirata’s novel entitled Edensor in Bahasa Indonesia and its English version translated byJohn Colombo. The main instrument of this research is the researcher herself andthe second instrument is the data sheets. The results of this research show that there are two kinds of metaphor found in Andrea Hirata’s Edensor. They are a dead metaphor and live metaphor.
The third study is an analysis of metaphor translation strategy in “the fault in our stars” by John Green. This study is written by Octavia (2015). This study is qualitative research. The data were collecting by listing the metaphors from the source text and the translated version. The data were analyzed by using metaphor translation strategies which are proposed by Newmark and Larson (1998). The finding of this research expected to help the study of meaning related to translating the metaphor, also it can be useful for the readers who intend to have a research on metaphor translation.
The different of the three studies with this research are, the first study focused on the relevance of conceptual metaphor and conceptual change, the second study analyzed the metaphorical expression in the Edensor novel by Andrea Hirata, the third study analyzed the metaphor translation strategy, while this research aims to apply the Lakoffian theory about conceptual metaphor to find out the conceptual metaphor in “the old man and the sea” novel by Ernest Hemingway.
E. SYNOPSIS OF THE OLD MAN AND THE SEA NOVEL BY ERNEST HEMINGWAY
The Old Man and the Sea is a short novel written by the American author and published in 1952. It was the last major work of fiction by Hemingway that was published during his lifetime. One of his most famous works, it tells the story of Santiago, an aginoff the coast of Cuba.
In 1953, The Old Man and the Sea was awarded t to Hemingway in 1954.
The Old Man and the Sea tells the story of a battle between an aging, experienced fisherman, Santiago, and a largeThe story opens with Santiago having gone 84 days without catching a fish, and now being seen as "salao", the worst form of unluckiness. He is so unlucky that his young apprentice, Manolin, has been forbidden by his parents to sail with him and has been told instead to fish with successful fishermen. The boy visits Santiago's shack each night, hauling his fishing gear, preparing food, talking about American baseball and his favorite playerSantiago tells Manolin that on the next day, he will venture far out into the Gulf Stream, north of to fish, confident that his unlucky streak is near its end.
On the eighty-fifth day of his unlucky streak, Santiago takes his into the Gulf Stream, sets his lines and by noon, has his bait taken by a big fish that he is sure is Unable to haul in the great marlin, Santiago is instead pulled by the marlin, and two days and nights pass with Santiago holding onto the line. Though wounded by the struggle and in pain, Santiago expresses a compassionate appreciation for his adversary, often referring to him as a brother. He also determines that, because of the fish's great dignity, no one shall deserve to eat the marlin.
On the third day, the fish begins to circle the skiff. Santiago, worn out and almost delirious, uses all his remaining strength to pull the fish onto its side and stab the marlin with aSantiago straps the marlin to the side of his skiff and heads home, thinking about the high price the fish will bring him at the market and how many people he will feed.
On his way in to shorewith his harpoon, but he loses the weapon. He makes a new harpoon by strapping his knife to the end of anto help ward off the next line of sharks; five sharks are slain and many others are driven away. But the sharks keep coming, and by nightfall the have almost devoured the marlin's entire carcass, leaving a skeleton consisting mostly of its backbone, its tail and its head. Santiago knows that he is defeated and tells the sharks of how they have killed his dreams. Upon reaching the shore before dawn on the next day, Santiago struggles to his shack, carrying the heavy mast on his shoulder, leaving the fish head and the bones on the shore. Once home, he slumps onto his bed and falls into a deep sleep.
A group of fishermen gather the next day around the boat where the fish's skeleton is still attached. One of the fishermen measures it to be 18 feet (5.5 m) from nose to tail. Pedrico is given the head of the fish, and the other fishermen tell Manolin to tell the old man how sorry they are. Tourists at the nearby café mistakenly take it for a shark. The boy, worried about the old man, cries upon finding him safe asleep and at his injured hands. Manolin brings him newspapers and coffee. When the old man wakes, they promise to fish together once again. Upon his return to sleep, Santiago dreams of his youth of lions on an African beach.
F.
INTRINSIC ELEMENTS OF THE OLD MAN AND THE SEA
NOVEL1. Characters Character is a fictional person described or impersonated in a work of imaginative literature. The writer analyzes only the characters who take important role in the novel. Some characters involved in the novel are excluded from the analysis since they do not have massive contribution in the story.
a. Santiago Santiago is the hero of the story. He is an old Cuban fisherman. In the beginning of the story he is told as having bad luck for eighty four days without catching any single fish. Santiago appearance is drawn in the beginning of this novel into these descriptions:
“The old man was thin and gaunt with deep wrinkles in the back of his neck. The brown blotches of the benevolent skin cancer the sun brings from its reflection on the tropic sea were on his cheeks. The blotches ran well down the sides of his face and his hands had thedeep-creased scars from handling heavy fish on the cords. But none of these scars were fresh. They were as old as erosions in a fishless desert.” Ernest Hemingway (1952:5-6).
b. Manolin Manolin, Santiago’s friend and disciple, is a good young boy.
Manolin highly respects his teacher, Santiago. Manolin believes that the eighty four days without fish of Santiago’s will come to an end. Manolin usually goes fishing with Santiago but when his parents command him to go with another boat, Manolin obey his parents. c. The great marlin The great marlin is a non-human character but this character is important in the story line. The great marlin measures eighteen feet from nose to tail which is two feet longer than the skiff. His purple pectoral fins set wide as wings and the great erect tail slicing through the dark while swimming in the water. His eye is huge and a horse. His head and back are dark purple, the stripes on his sides showed wide and a light lavender. The great marlin’s sword is as long as a baseball bat and tapered like a rapier
. The 87 great marlin’s tail is higher than a big scythe blade and its color is a pale lavender.
2. Plot The Old Man and the Sea is the story of an epic struggle between an old, seasoned fisherman and the greatest catch of his life. For eighty-four days, Santiago, an aged Cuban fisherman, has set out to sea and returned empty-handed. So conspicuously unlucky is he that the parents of his young, devoted apprentice and friend, Manolin, have forced the boy to leave the old man in order to fish in a more prosperous boat. Nevertheless, the boy continues to care for the old man upon his return each night. He helps the old man tote his gear to his ramshackle hut, secures food for him, and discusses the latest developments in American baseball, especially the trials of the old man’s hero, Joe DiMaggio. Santiago is confident that his unproductive streak will soon come to an end, and he resolves to sail out farther than usual the following day.