David Lurie : representation of Western hegemony in J.M. Coetzee`s disgrace.

(1)

ABSTRACT

EKA DINA DIANTY SUWANDI (2008). David Lurie: Representation of Western Hegemony in J. M. Coetzee’s Disgrace. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University.

The Eurocentric view is constructed to glorify the superiority of the European people over the others. Certainly, it needs power and excellent position in the society to promote and maintain this view. The effort to promote and maintain the Eurocentric view is clearly depicted through David Lurie in J. M. Coetzee’s Disgrace, as the object of the study discussed here. The notion that European is superior to the local people gives contribution in creating the main character named David Lurie, a fifty-two-year-old European man. This thesis tries to analyse how David’s character can be an effective vehicle to revealing western hegemony.

This thesis presents three problems to be discussed and analysed. The first problem is how David Lurie’s general qualities are described in the novel. The second is how David Lurie’s qualities represents the qualities of the coloniser. The last is how western hegemony is depicted through the representation of David Lurie’s qualities.

This thesis is conducted by using the library research method. The writer collects all the related data and other supporting references from the library and the internet. Since the writer concerns with the study of western hegemony that influences the creation of David Lurie as the main character, the postcolonial approach will be suitable to analyse the problems.

From the analysis, the writer concludes that the character of David Lurie can be seen as the representation of western hegemony through his qualities and his profession. In other words, he is created as the European lecturer and a white man to highlight the fact that he is the superior and powerful one in the society. The way David Lurie promotes and maintains his power and superiority is considered as the depiction of western hegemony itself. Therefore, the character of David Lurie is a kind of discourse that needs to be discussed and analysed, in order to know and understand the way western hegemony works.

(2)

ABSTRAK

EKA DINA DIANTY SUWANDI (2008). David Lurie: Representation of Western Hegemony in J. M. Coetzee’s Disgrace. Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma.

Pandangan Eurocentric dibentuk untuk mempromosikan superioritas orang-orang Eropa pada masyarakat luas. Tentu kekuasaan dan posisi yang terbaik dalam masyarakat diperlukan untuk mempromosikan dan mempertahankan pandangan ini. Usaha untuk mempromosikan dan mempertahankan pandangan ini jelas digambarkan melalui David Lurie dalam novel karya J. M. Coetzee yang berjudul Disgrace, sebagai objek penelitian yang didiskusikan di sini. Ide bahwa orang Eropa superior terhadap orang-orang lokal memberi kontribusi dalam penciptaan karakter utama yang bernama David Lurie, seorang pria tua berbangsa Eropa yang berusia lima puluh dua tahun. Skripsi ini berusaha untuk menganalisis bagaimana karakter David dapat digunakan sebagai alat yang efektif untuk menunjukkan hegemoni barat.

Skripsi ini menampilkan tiga permasalahan untuk didiskusikan dan dianalisis. Masalah pertama adalah bagaimana karakter David Lurie dideskripsikan dalam novel. Kedua, bagaimana karakteristik David Lurie merepresentasikan karakteristik penjajah. Masalah yang terakhir adalah bagaimana hegemoni barat digambarkan melalui representasi karakteristik David Lurie.

Skripsi ini dilakukan dengan menggunakan metode penelitian pustaka. Penulis mengumpulkan data-data relevan serta referensi-referensi lain yang mendukung dari perpustakaan dan internet. Karena penulis tertarik dengan konsep hegemoni barat yang mempengaruhi penciptaan David Lurie sebagai karakter utama, pendekatan postcolonial akan sangat mendukung untuk menganalisis masalah.

Dari analisis yang telah dilakukan, penulis menyimpulkan bahwa karakter David Lurie dapat dilihat sebagai representasi hegemoni barat melalui karakteristik yang dimilikinya dan profesi yang digelutinya. Dengan kata lain, karakter David diciptakan sebagai seorang dosen dari Eropa dan sebagai seorang pria berkulit putih untuk menegaskan fakta bahwa dia adalah seorang yang superior dan berkuasa dalam masyarakat. Cara David Lurie mempromosikan dan mempertahankan kekuasaan dan superioritasnya dilihat sebagai gambaran hegemoni barat itu sendiri. Oleh karena itu, karakter David Lurie adalah wacana yang perlu didiskusikan dan ditelaah, dalam upaya untuk mengetahui dan memahami cara kerja hegemoni barat.

(3)

DAVID LURIE: REPRESENTATION OF WESTERN

HEGEMONY IN J.M. COETZEE’S

DISGRACE

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra

in English Letters

EKA DINA DIANTY SUWANDI Student Number: 014214044

ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

YOGYAKARTA 2008

(4)

(5)

(6)

The Fear of the Lord is the beginning of Knowledge;

Fool despise wisdom and instruction (Proverbs 1 : 7)

The struggle for survival dictated that the strong, or those best at imposing their

power, were deserving of hegemony.

(7)

This undergraduate thesis is dedicated to

My Elohim

My late father

My beloved mother

My sister, Nova

(8)

(9)

ACKNOWLEDGEMENTS

First of all, I would like to thank My God and Father of my Lord Jesus Christ for His love, His mercy and His grace. I know that He will never leave me. I would like to express my best gratitude to my advisor, Gabriel Fajar Sasmita Aji, S.S., M. Hum. During my thesis writing process, he was wonderfully encouraging and always open to questions and requests for help. I am also indebted to my co-advisor, Adventina Putranti, S. S., M. Hum., who has become inspiring reader, all the English Letters Department lecturers, all the secretariat staff, and the library staff for their guidance and help during my study.

I would also like to thank my family, my beloved mother and my sister. I thank my mother for her endless pray, patience and support, and my sister for her deep understanding and humour. I am grateful to Uncle Yuram and his family, Uncle Wagino and his family, Mr. Petrus Ponidjo and his family, Mr. Wisnu Wardhana and his family, and Mr. Sardjono and his family for their excellent helps when I am down. I should also like to remember the advice and support I have been privileged to receive from Mba Thira, Vera, Rita, Debby, Kak Daisy, Mba Parmi, Erick Singam, Kak Lelo, and Kak Bobo.

I am deeply indebted to Sistha, Dian, Nana, Santi, Hayu, Galih, Dita, Mila, Budi, Maggie, Ririn, Yeni and others for a wonderful friendship in English Letters Department. And finally, my gratitude is to all of my best friends in Central Borneo Dormitory, and all of my friends in Impact Ministry. I hope our friendship will last forever.

(10)

TABLE OF CONTENTS

TITLE PAGE ……….. i

APPROVAL PAGE ………... ii

ACCEPTANCE PAGE ………...………... iii

MOTTO PAGE ...……….... iv

DEDICATION PAGE ...………. v

ACKNOWLEDGEMENTS ……….... vi

TABLE OF CONTENTS ……… vii

ABSTRACT ……… ix

ABSTRAK ……….. x

CHAPTER I INTRODUCTION ………. 1

A. Background of the Study ……….. 1

B. Problem Formulation ……….………... 4

C. Objectives of the Study ………. 4

D. Definition of Terms ……….. 4

CHAPTER II THEORETICAL REVIEW ……… 7

A. Review of Related Studies ……… 7

B. Review of Related Theories ……….. 10

1. Theory of Character and Characterization ..………….. 10

2. Theory of Postcolonialism ……… 12

3. Theory on Representation ………. 15

4. Theory on Western Hegemony ………. 16

C. Theoretical Framework ………. 16

CHAPTER III METHODOLOGY ………. 18

A. Object of the Study ………... 18

B. Approach ………...……… 19

C. Method of the Study … ………... 20

CHAPTER IV ANALYSIS ……….. 22

A. The General Qualities of David Lurie ………. 22

1. Intellectual ……… 22

2. Attractive ……….. 25

3. Confident ……….. 26

(11)

5. White ………... 29

6. Superior ………...……….. 30

7. Arrogant ……….... 33

8. Old ...………... 34

9. Male ……….. 35

10.Stubborn …...………... 35

B. David Lurie’s qualities as the representation of the coloniser’s qualities………. 37

1. Superior ………. 38

2. Educated ………... 42

3. Oppressive ……… ……… 44

4. Disdainful ……….. 47

C. The Depiction of Western Hegemony through David Lurie …. 50

CHAPTER V CONCLUSION ………. 60

BIBLIOGRAPHY ………. 63

APPENDICES ……….. 65

Appendix 1 ……….. 65

(12)

ABSTRACT

(13)

ABSTRAK

EKA DINA DIANTY SUWANDI (2008). David Lurie: Representation of Western Hegemony in J. M. Coetzee’s Disgrace. Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma.

(14)

CHAPTER I INTRODUCTION

A. Background of the Study

Literature has different meaning to different persons. Some people think that it is the arrangement of the author’s imaginative worlds, but, to others it is just reading tradition over time. For the rest, literature is part of subjects in schools. The way readers think about literature varies from time to time. Meanwhile, there is also no absolute definition of literature. Most readers agree that literature is different from other writings due to its focus on the attention to language (Abcarian and Klotz, 1998: 1). When language shifts from “everyday” kinds of writing to other context and builds other purposes, it can be said as literature (Culler, 1997: 23). Here, literature uses stylised words arrangement to tell a story. The chosen diction must be appropriate to create a certain world in literary works. Besides telling story and creating certain world, however, the most important thing in literature is the relation between the text and reality. It is also noted, “authors frequently write about what happens around them and thereby express historically situated ideas, feelings, and values” (Abcarian and Klotz, 1998: 3). It means that the literary work embodies a set of dominant ideas. What the ideology, the norms, the customs, the belief that the societies embrace can be represented in literary works.

(15)

Jonathan Culler in the book of Literary Theory A very Short Introduction says, “literature is the vehicle of ideology” (1997:36). It can be said that literature is a tool to impose the need and desire of a person or powerful groups to others. Literature can be a device to question the arrangement of domination in a particular society.

Postcolonial literature can be observed as literature that carries the ideology of a person or certain groups. It questions the Eurocentric views, which takes for granted the superiority of European or Western, and the inferiority of others (Barry, 2002: 193). It focuses on the unequal relation of power between the coloniser and the colonised, the reactions of the colonised people that will always be resistant, and the effects of colonisation on culture and societies (Ashcroft et all, 1998: 186-189). It means that postcolonial literature is a way to attack the colonialism and its practice. It fights against the oppression, discrimination, and subordination that the coloniser has done. It also questions the domination of the coloniser towards the colonised people in economic, social, political and other aspects of life.

Disgrace that is written by J. M. Coetzee is a postcolonial literary work. It embodies a protest against colonialism and its practice. It reflects the new models of colonialism, which is not concerned on colonising the physical things but more on colonising the stage of mind and culture of the colonised. In this case, the efforts of the coloniser to convince the colonised about their Eurocentric views are not in the form of military force, but through economy, technology, education and

(16)

the media so that Eurocentric views can be accepted as common views. By defining what is meant by coloniser and colonised, colonialism itself wants to strengthen the power and the domination of the ruling group. Moreover, the act of accepting and imitating Eurocentric views, attitudes, and opinions shows the way in which colonialism works in a certain society. The influence of Eurocentric views can be found in this literary work.

Set in South Africa, Disgrace is the story about a white man, namely David Lurie, who works in Cape Town University as a lecturer. This man teaches communication and the Romantic poets to his students. He tries to make his students like the subjects that he taught. His great interest in literary canon enables him to produce three books, namely Baito and the Faust Legend: The Genesis of Mefistofele, The Vision of Richard of St Victor, and Wordsworth and the Burden of The Past. The values of life that David Lurie believes in are mostly influenced by Eurocentric views. The situation and the condition of the society do not discourage his spirit to spread his ways of thinking about life by creating literary works. He does not really care about where he lives and what kind of society he deals with. Although the era of physical colonialism is over, he wants everyone to have the same opinion as his says that the inferiority belongs to the local people and the superiority belongs to the European people. From the situation he deals with throughout the story, it is indicated that David Lurie really wants to highlight his position in the society. However, the way David Lurie sees life is the result of the ideology that binds him.

(17)

By knowing these facts, it is interesting to explore the general qualities of David Lurie as the main character. The way David Lurie’s qualities represents the qualities of the coloniser and the way western hegemony is depicted through the representation of David Lurie’s qualities, as the main character here are the challenged topics that are articulated in the story.

B. Problem Formulation

In order to have a further analysis, the thesis will focus on the problems stated as follows:

1. How are the general qualities of David Lurie described in the novel? 2. How does David Lurie’s qualities represent the qualities of the coloniser? 3. How is western hegemony depicted through the representation of David Lurie’s qualities?

C. Objective of the Study

This thesis is an effort to find out the general qualities of the main character, to identify how David Lurie’s qualities represents the qualities of the coloniser, and to investigate how western hegemony is depicted through the representation of David Lurie’s qualities. By acknowledging those problems, the western hegemony that can be learned from the creation of David’s character can be understood.

D. Definition of Terms

The writer will point up some terms to clarify and to avoid misunderstanding of meanings. The terms are defined as follows:

(18)

1. The coloniser

It is noted on the book of The Wretched of the Earth that the colonial world is inhabited by two different species; the foreigner who comes from another country and the local. The foreigner here is known as the coloniser. It emphasises that the foreigner or the coloniser imposes his rule by humiliation, manipulation, and exploitation in military, economic, and political aspects on the local (Fanon, 1963: 38-40).

2. Postcolonialism

It is stated on the book of Key Concepts in Post-Colonial Studies that postcolonialism talks about the effects of colonialisation on cultures and societies. It concerns on the study of European territorial conquests, the institutions of European colonialisms, the discursive operation of empire, the subtleties of the subject construction in colonial discourse and the resistance of those subjects, and the differing responses to such incursions and their contemporary colonial legacies in pre-and post-independence nations and societies (Ashcroft et al, 1998: 186-187).

3. Representation

Based on the Longman Dictionary of English Language and Culture, representation is defined as “the act of representing or state of being represented, or something that represents something else” (2005: 1169). In Edgar and Sedgwick’s Cultural Theory The Key Concepts, representation has a political meaning or a more nuanced meaning, which may be used in the mass media, in order to present images of certain social groups (2002: 339).

(19)

4. Western Hegemony

Deborah Moore Haddad on the article Hegemony written in International Encyclopedia of Government and Politics points out that hegemony is the influence of a powerful state in economic, political, cultural, and military to others (1996: 563). The book of Literary Theory mentions, “hegemony is an arrangement of domination accepted by those who are dominated. Ruling groups dominate not by pure force but through a structure of consent, and culture is part of this structure that legitimises current social arrangements” (Culler, 1997: 48). Here, the term “western hegemony” is used to imply that it is about western culture, western point of view, western traditions and so on.

(20)

CHAPTER II

THEORETICAL REVIEW

This chapter consists of three parts, namely Review of Related Studies, Review of Related Theories, and Theoretical Framework. Review of Related Studies gives the information about the position of this study. Review of Related Theories contains theories, which are applied in the study. Theoretical Framework tells about the contribution of the theories and reviews to solve the problems of the study.

A. Review of Related Studies

This part focuses on the reviews of J. M. Coetzee and his works, which are written in Postcolonial Discourses An Anthology, Encyclopedia, The Post-Colonial Studies Reader, Key Concepts in Post-Colonial Studies, The Empire Writes Back, Longman Dictionary of English Language and Culture, and online references.

Being internationally discussed, many writers both the whites and the locals are carrying the racial issues and the situation in South Africa as the themes of their works. John M. Coetzee is one of those writers, who are bringing the literary life of South Africa to the world (The New Encyclopedia Britannica, 1983: 73). However, Coetzee is also known as a Professor of English literature who won the Booker Prize in 1983 and 1999 for his novels The Life and Times of

(21)

Michael K and Disgrace. He was awarded the Nobel Prize for Literature in 2003 (Longman Dictionary of English Language and Culture, 2005: 261).

The book of Key Concepts in Post-Colonial Studies mentions that “J. M. Coetzee on his novel Waiting for the Barbarians demonstrates the ways in which imperial discourse constructs its otherness in order to confirm its own reality” (Aschroft et all, 1998: 173). Hellen Tiffin on her article Post-colonial Literatures and Counter-discourse written on The Post-Colonial Studies Reader says that J. M. Coetzee in his novel Foe and his other works is not simply ‘writing back’ to the English canonical text, but to the complex discursive field in which the text operated and continues to operate in post-colonial world (1995: 98). It is noted on the book of The Empire Writes Back that J. M. Coetzee is one of the writers who recreates certain works from English ‘canon’ in postcolonial terms, not simply by changing to the opposite of the hierarchical order but by interrogating the philosophical assumptions on which that order was based (Ashcroft et al, 1989: 33). Thus, from his typical works, J. M. Coetzee can be considered as one of the postcolonial writers.

Alan Riding in Coetzee, Writer of Apartheid as Bleak Mirror, Wins Nobel states that Coetzee is South Afican novelist who uses the apartheid system and its post-apartheid transition to mirror the bleakness of the human condition. According to the Swedish Academy quoted by Riding, Coetzee in his novels turns an existentialist spotlight on individual behaviour. It is clear in the quotation as follows.

“At the decisive moment Coetzee’s characters stand behind themselves, motionless, incapable of taking part in their own actions. But passivity is

(22)

not merely the dark haze that devours personality; it is also the last resort open to human beings as they defy an oppressive order by rendering themselves inaccessible to its intentions” (http://www.nytimes.com/2003/ 10/03/arts).

Thus, Coetzee is described as depicting the condition and the situation of South Africa in his novels, in which he creates his characters as passive creatures at the resolution.

Michiko Kukutani in Chronicling Life Perched on a Volcano’s Edge as Change Erupts notes that ”all his characters are forced to come to terms with the precariousness of their existence, their susceptibility to the cruelties of history, to authoritarian, barbarian or merely random violence” (http://www.nytimes.com/ 2003/10/03/books). She states that Coetzee has remained with the same set of themes, for examples: the dynamic between reality and imagination, the relationship between the powerful and the powerless, the Darwinian nature of contemporary life, the inability of parents and children to save one another from harm and the costs of emotional survival (http://www.nytimes.com/2003/10/03/ books). This means that Kukutani discusses Coetzee’s style of writing.

Here, the writer raises a new opinion in analysing the novel. The writer thinks that J. M. Coetzee’s Disgrace concerns about the colonialism and its legacies in the society. It is not about physical colonialism but more about colonialism that has been done in the mindset of the people in society. The writer finds in what ways colonialism works in the novel, which is presented through the life of the main character, David Lurie.

(23)

B. Review of Related Theories

This part talks about the important and relevant theories, which are used to support the analysis.

1. Theory of Character and Characterization

M. H. Abrams in A Glossary of Literary Terms states that characters are the persons who are showed in a dramatic or narrative work, and the qualities of the characters reveal in dialogue and action (1985:23).

Characters are the persons presented in a dramatic or narrative work, who are interpreted by the reader as being endowed with moral, dispositional, and emotional qualities that are expressed in what they say—the dialogue—and by what they do—the action.

According to Stanton, character can be the actor in the story and the characteristics of the characters. The actors also have the relationships with characteristics they have (1965: 17).

There are complex characters in the novel, which can be described through the complexity of their characterization. The attention is pointed to them (by the author or other characters) and the personal intensity that seem to transmit. It is major character that deserves the full concern because it performs the key structural function. Upon the character, the story builds and establishes the values of life (Henkle, 1977:97). Meanwhile, the minor or secondary characters are those who play less dominant role in the story. They perform limited function than that of the major characters. As the background, foils and analogues to the major characters, their responses to the experience are less complex and interesting than the major character (Henkle, 1977:97).

(24)

M. J. Murphy gives nine ways of how the authors make their characters understandable or interesting (1972: 161-173):

a. Personal description

Here, the author can give clear and details description about his or her character’s appearance: the face, body, clothes of the character, etc. It is

important because somehow it gives clues to the readers to know the character. b. Character as seen by another

Sometimes the author of the story gives the description of his or her character not in a direct way. The author describes the character from another opinion in addition, point of view towards that character. The author let his or her readers to conclude the image of the character.

c. Speech

In describing his or her character, the author can gives clues about the character from what he or she says.

d. Past life

Giving information about his or her character’s past life, the author wants the readers to know from what kind of situation and condition the character grows. This information can be stated by the author, from the dialogue in the story, etc. e. Conversation of others

The author is trying to give the readers the description of his or her character from the dialogues among them. Believe that the readers can imagine the character is.

(25)

f. Reactions

The author describes the character through how the character reacts in many kinds of situations and conditions in the story.

g. Direct comment

The author is giving direct comment on the character that he or she creates. h. Thoughts

The author enriches the readers with knowledge of what the character is thinking about, and what is the burden in the character’s mind.

i. Mannerisms

The author is giving the description of the character’s habits in every single situation and condition.

In this work, the writer wants to analyse the main character namely David Lurie, whether he is a round character or a static character. The qualities of David Lurie, then, can be the way to find the idea in J. M. Coetzee’s Disgrace.

2. Theory of Postcolonialism

The term postcolonialism is still in ongoing debate. The debate is divided in two parts: it is about the word post and the word colonialism. It is believed that colonialism itself lies within a concept of imperialism and some theorists have their own assumptions about what imperialism is and how the acts of colonialism come out from it. The lack of consensus among postcolonial theorists on how colonialism is structured in imperialism and what post means becomes problematic issue in postcolonial study (Slemon, 2001:101-103). But somehow all

(26)

concepts presented by postcolonial theorists enrich the postcolonial study itself. Several concepts grow under the name postcolonial and these concepts have their own positions in relation with methodology or social object or political goal. Thus, this work only contains postcolonial theory that is appropriate to analyse the object of study.

In the book of Postcolonial Theory, according to Ashis Nandy quoted by Leela Gandhi there are two types of colonialism. First, colonialism that focuses on physical conquest of colony, and the second is colonialism that focuses on the purpose to conquer minds and cultures of the colonised. The era of the first kind of colonialism is over but the second kind is still found in colonised societies (1998: 15). It seems that there is no liberty because the colonised societies still live in the shadow of colonialism. The coloniser never gives up to spread the colonial values, the customs, and the life styles to the target societies. It is done through active persuasion, for examples: language, music, sciences, technology, and other possible things. Therefore, postcolonial studies exist. It fights against the hegemony of the coloniser in the attempt to set the basic values of the colonised (1998: 44).

Frantz Fanon in his book of The Wretched of The Earth notes that the colonialism describes the local society is a society, which lacks of values. It is better for the local society not to have their own values; it is better if their values never exist in this world. The local is the barbaric, the enemy of values. Colonialism puts the idea into the locals’ minds, which before the colonialism, they were already dominated by barbarism. The local society is nothing without

(27)

the colonialism. Moreover, the holy duties of colonialism are to civilise, to teach the right values of life and to lead the local to a better stage of mind (1963: 41, 211-213). In addition, Edward Said in his work Orientalism finds out that the Orient at first is the place of romance, and exotic creatures but now its description is disappeared. The Orient here has functions to define the Europe with its contrasting image, idea, personality, and experience (Ashcroft et al, 1995: 87). He says, ”the relationship between the Occident and Orient is a relationship of power, of domination, of varying degrees of a complex hegemony”(Ashcroft et al, 1995: 89). He also points out that Orientalism is about the strategy in positioning Western superiority in the relationship with the Orient (Ashcroft et al, 1995: 90). It means that the relationship between the coloniser and the colonised is not a simple relationship because power, domination and hegemony do play an important role there.

In agreement with the previous theories, Elleke Boehmer in the book of Colonial and Postcolonial Literature points out that the basis of colonisation is the processes of othering. In that process, the colonisers create images for their own selfhood and the local people. The images of inferiority, wild, less civilized are labelled to the local, in contrast the images of mastery and control, rationality, superiority, skilfulness are belongs to the western people. Economic and military powers are not the only ways to promote these Eurocentric views. The colonisers also bring these views in dealing with culture, religion, politics, science and technology. Not only to make the local understand their views, but the colonisers also want to make them think about reality in European ways of thinking (2005:

(28)

75-78). The condition of this kind of society directly influences the personality of each person as the member of the society. Since identity becomes an important matter in this kind of society, each person searches the identity of himself or herself through social and cultural values that exist. Karen Horney in the book of Psychology a concise introduction believes that social and cultural aspects play important roles in establishing the personality of a person (1992: 264). Erich Fromm points out that the system and social arrangement of society shape the personality of the members so that the personality of each person is suitable for the society and it meets the needs of the society itself (Teori-Teori Psikodinamik, 1993:295).

In this thesis, the writer investigates the second type of colonialism that focuses on the purpose to dominate the local’s mind and culture. The dominant qualities of David Lurie can be the way to scrutinise this type of colonialism.

3. Theory of Representation

In the book of Representation cultural representations and signifying practices, Stuart Hall mentions that representation is an essential process by which meaning is produced in a culture. It involves the use of language, signs and images, which stand for things (1997: 15).

Chris Barker in Cultural Studies Theory and Practice states that representation pays attention on how the world is constructed socially. It is the exploration of meaning within the text. In addition, the meaning itself can be produced in variety of contexts (2000: 8). Representation can be classified into

(29)

surface and depth representation. Surface representation is known as optical realism. It means this representation is dealed with the “visible”. Then, depth representation emerges from the “visible”. Meaning to say, this kind of representation leads us to discover the hidden facts from the visible. It can be said that depth representation needs an effort to analyse. It is a representation of essences (Gibson, 1996: 81-87).

4. Theory of Western Hegemony

It is stated on the book of Key Concepts in Post-Colonial Studies that hegemony refers to the exercise of ideology. According to Antonio Gramsci, hegemony is the domination of the dominating group by consent. Essentially, hegemony is the power of the dominating group to make other groups believe that his or her values are the values of all. It is working in many aspects of life in a particular society, like in economic and educational aspects, and in the media. The dominating group is definitely promoting and maintaining the Eurocentric views as the common views to the local in a natural way (Ashcroft et all, 1998: 116-117). From this point, hegemony is an effective way to influence the mechanism of the local’s brain. It is due to the interest to strengthen the position of the dominating group in a certain society.

C. Theoretical Framework

Here, four main theories will be used to analyse J. M. Coetzee’s Disgrace, namely, theory of character and characterization, theory of postcolonialism,

(30)

theory of representation, and theory of western hegemony. These theories help to get the understanding of the discussed elements.

Theory of character and characterization is going to be used to discover the qualities of the main character, David Lurie, and to understand how the character is described in the novel. Theory of postcolonialism will show the position of the character, David Lurie, in this text. By using this theory, the writer will be able to analyse the interrelatedness of the main character and the labelled qualities of the coloniser. The theory of representation will enable the writer to explore a certain meaning of the creation of the main character. Finally, theory of western hegemony will give a deep understanding of how hegemony can be operated in the society.

(31)

CHAPTER III METHODOLOGY

This chapter is divided into three parts, namely the object of the study, the approach of the study, and the method of the study. The object of the study talks about the literary works that is analysed. The approach of the study gives information about the approach used in analysing the literary work, the way to apply it, and the reason why the approach is used. The method of the study describes the steps to analyse the literary work.

A. Object of the Study

This study analyses one of J. M. Coetzee works entitled Disgrace, which is written in 1999. The novel is published by Vintage, London, in 2000. The novel has 220 pages and contains 24 chapters.

The novel won the 1999 Booker Prize, Britain’s most important literary award. A member of Parliament and the chairman of the judges’ panel, Gerald Kaufman, said the novel was ”an allegory about what is happening to the human race in the post-colonial era” (http://www.nytimes.com/library/books). He added, “In a sense this is a millennial book because it takes us through the 20th century into a new century in which the source of power is shifting away from Western Europe” (http:// www.nytimes.com/library/books).

The novel is about the main character, named David Lurie, who works as a lecturer in Cape Technical University. He is a professor on Communication and

(32)

Romantic Poetry. He teaches his classes dutifully. He is a 52 year-old-man without a wife. He feels that he lives in harmony because he has everything that he wants, including a good reputation in the society, and woman. When he goes to his daughter’s farmhouse in the country, he wants to show his power and superiority as the European person. He thinks that the local person like Petrus, his daughter’s neighbour, does not have right to get high social status. According to him, the local people are in the lower position in the society. Throughout the story, it is clearly seen that David Lurie has imposed his belief to the others.

B. Approach of the Study

In this study, the writer applies the postcolonial approach. The approach is used because this thesis is concerned with the study of the western hegemony as represented in J. M. Coetzee’s Disgrace through the main character.

Charles E. Bressler in his book entitled Literary Criticism: An Introduction to Theory and Practice notes that postcolonial approach concerns with the literary works produced in colonised countries. It appreciates the creative writings from the colonised countries, and excludes the European and American’s ways of thinking. It investigates the clash culture between the Whites and the local people (1999: 265-266).

In addition, Peter Bary in the book of Beginnning Theory An Introduction to literary and cultural theory says that Postcolonial approach rejects the idea of Eurocentric universalism, which believes that the European or the Whites is superior, and the local is inferior. It looks on cultural difference, diversity, and

(33)

hybridity. It also celebrates hybridity that is the condition somehow; groups of peoples belong to more than one culture (2002:199).

C. Method of the Study

In analysing the novel, the library research was conducted. It means that the data were collected from the books, theories of literature, and other information sources that could support the study. There are two kinds of sources that are used in this study. The first is the novel itself as the main source of this study. The second sources are theories on the literary works and some postcolonial theories to examine the topic. Theories that are used in this study for examples, theories of character and characterization by M. H. Abrams, M. J. Murphy, R. Stanton, Henkle, and theories of Postcolonialism by Leela Gandhi, Frantz Fanon, Elleke Boehmer.

The writer took certain steps in exploring the novel. The first step was to scrutinize the novel until the writer got a full comprehension, by focusing on the main character. The place or the nature, including detailed objects where the story takes place, the interrelation between each character in the story, and the social condition of the story lead to the comprehension of the main character as the representation of the western hegemony. The second step was to find theories of character and characterization, theory of postcolonialism, theory of representation, and theory of western hegemony. The theories were used in order to analyse deeper how the main character in the novel is depicted. The third step was to take notes of any relevant and supportive information on postcolonialism,

(34)

representation, and western hegemony. The fourth step was to apply the theories and information to analyse the topic presented. Finally, the last step was to make the conclusion, which was drawn with the consideration of the analysis done before.

(35)

CHAPTER IV ANALYSIS

This chapter covers three subchapters, which are the answers of the problems formulated in the previous chapter. The first subchapter is the general qualities of the main character, namely Professor David Lurie. The second is how David Lurie’s qualities represent the qualities of the coloniser. The third is how the western hegemony depicted through David Lurie.

A. The General Qualities of David Lurie

In this part, the writer will investigate the general qualities of the main character, David Lurie as human being. How the general qualities of David Lurie are presented in Coetzee’s Disgrace will be analysed through applying the theory of character and characterization. Moreover, this part is useful to find out the dominant qualities of David Lurie that will be the basic concern in the next subchapter.

1. Intellectual

Here, David Lurie is introduced as an intellectual person who works in Cape Technical University. He teaches Communications and Romantic Poets. In his career, he has produced three works of art, namely Baito and the Faust Legend: The Genesis of Mefistofele, The Vision of Richard of St Victor, and

(36)

Wordsworth and the Burden of the Past. He keeps creating works of art and spends his time to do the research. It can be seen in the following quotation.

He spends more time in the university library, reading all he can find on the wider Byron circle, adding to notes that already fill two fat files. He enjoys the late-afternoon quiet of the reading room, enjoys the walk home afterwards: the brisk winter air, the damp, gleaming streets (Coetzee, 1999: 11).

From the quotation above, it is clearly seen that David Lurie can be called the real intellectual person not only intelligent person because there are lots of people have very good brain but do nothing, but David Lurie is willing to spend his time to do research in the subjects for long periods of study. The situation and condition in his surroundings cannot prevent his research on Byron, indicating that David Lurie can work in every situation even when he is under pressure.

His head is full of his project on Byron, about how he can make progress on it. This kind of situation can be seen when the day meets its end, he cannot sleep well and starts to think about his project.

He gets up, drapes a jacket over his shoulders, returns to bed. he is reading Byron’s letters of 1820…he sighs again. how brief the summer, before the autumn and then the winter! He reads on past midnight, yet even so cannot get to sleep (Coetzee, 1999: 87).

The heaviest burden on his mind is his project on Byron. Although he does other activities, he is upset when he does not make much progress on this project. It is seen when he is in his daughter’s house.

He works in the garden; when he is tired he sits by the dam, observing the ups and downs of the duck family, brooding on the Byron project. The project is not moving. All he can grasp of it are fragments ( Coetzee, 1999: 141).

(37)

The quotation above indicates that his mind is always working to find a way to complete his project on Byron. His actions of thinking imply that he is an intellectual person.

Furthermore, the fact that the University offers him the chance to teach in Communications and allows him to teach a course of the Romantic Poets imply that he is the person who has ability above the average people. He is not an ordinary person because when talking about communications, the skill to communicate well either verbal or nonverbal plays an important role, the basic and standardised understanding on this are needed. To teach Romantic Poets, one should master the culture where the poets live in and the society where the poets interact. This strengthens the ability of David Lurie as an intellectual person.

A friend of his daughter, Bev Shaw, says to Lucy that she is afraid of making mistakes in grammar in front of him (Coetzee, 1999: 91). Obviously, David is an intellectual person that others are worried to make mistakes in grammar. David does not have to say something to convince others that he has ability more than others do. The way he acts in his daily life somehow portrays his brain capacity in front of other people. Bev’s opinion towards David is the proof of his capacity.

From the way he analyses the problem in his daughter’s farmhouse is indicated that he is an intellectual person. He tries to dig the possible causes of the robbery in Lucy’s farmhouse. He never ceases to think until he finds out the clues. It can be seen when he talks to Petrus, the assistant of Lucy, about the robbery (Coetzee, 1999: 118).

(38)

2. Attractive

David Lurie is described as an attractive man. He is handsome and he has a good body shape. He can attract everyone he wants to and sometimes he can use his physical appearance to get what he needs. It is seen in the quotation as follows.

With his height, his good bones, his olive skin, his flowing hair, he could always count on a degree of magnetism. If he looked at a woman in a certain way, with certain intent, she would return his look, he could rely on that. That was how he lived; for years, for decades, that was the backbone of his life (Coetzee, 1999: 7).

The fact in the story that he has been divorced two times (Coetzee, 1999: 1) and still has other affairs depicts that he is really an attractive man. His status as a widower does not really matter to women. The women can easily fall into him. He can believe in his physical appearance to win women’s hearts.

Melanie Isaacs is one of his students who cannot refuse his attractiveness. She welcomes all David’s efforts to get closer to her. When the relation between them becomes too far, Melanie does not give any objections against him at that time (Coetzee, 1999: 11-20). This condition, somehow, makes David Lurie proud of his attractiveness. His steps to get Melanie’s attention and his strategy to bring her to his bed conclude that from the beginning, he believes in his attractiveness. Somehow, his attractiveness to be effective.

Not only Melanie, but also Bev Shaw who cannot avoid from his attractiveness. She is married but she dares to put her marital status somewhere to make love to him. In this case, David does not do any effort to get her but she does (Coetzee, 1999: 148-150). It is clear that David can attract others with the physical appearance he has.

(39)

3. Confident

The word ‘confident’ here is not a surprising fact because this quality sometimes follows someone who has quick and clever mind more than the others do. Confidence shows one’s strong quality that is positively used to face the reality. With this quality, one will always have a dream in his life because he believes that he can do the best. However, this quality will emerge as the story flows and finds its end.

As a lecturer in the university, David Lurie does not meet any serious matter in teaching the subjects. He feels confident when he is teaching in front of the class. He does not care about the situation and the condition of the class. He keeps doing what he must do as a lecturer. It can be seen in the following quotation.

Usually there is a buzz of talk from the students. Today there is a hush… ‘We continue with Byron,’ he says, plunging into his notes. ‘As we saw last week, notoriety and scandal affected not only Byron’s life but the way in which his poems were received by the public. Byron the man found himself conflated with his own poetic creations-with Harold, Manfred, even Don Juan’ (Coetzee, 1999: 31).

David seems to understand his position in the class. He knows that the way he gives the material will influence the class. If he is less confident, the students will not really get the points that he wants to share in front of the class. He needs his purposes for this class to be fulfilled. As a result, he has to control his manner in front of the class by showing his confidence.

The material that he gives in the class somehow portrays his confidence in his abilities and his traits. He does not count the situation in his surroundings. He

(40)

just focuses on himself. His material that talks about the Romantic Poets, in this case Lord Byron, does not to fit with the culture in where he lives now.

When David Lurie encounters a problem with his student, Melanie Isaacs, he feels confident that he will pass it. Although he knows that it is a serious matter, he does not feel nervous. It is seen when he does not care with others’ opinions; he believes everything is in his hands.

He does not feel nervous. On the contrary, he feels quiet sure of himself. His heart beats evenly, he has slept well. Vanity, he thinks, the dangerous vanity of the gambler; vanity and self-righteousness. He is going into this wrong spirit. But he does not care (Coetzee, 1999: 47).

Furthermore, David realises that he is somehow in the wrong side but he still keeps on his way. He does not want to be the guilty one. He continues to have a strong belief in his points about this “sexual harassment” matter. It seems that this quality brings David to the wrong direction. He becomes a person who does not want to see every single problem from the others’ point of views. He just wants to see it from his own perspective.

From the conversation between David Lurie and Mr. Isaacs, it seems that David can manage his emotion well. He tries to explain the story of ‘sexual harassment’ that happens to Melanie Isaacs from his point of view. At first, he thinks that he is a bit nervous about it but he is not. “He had expected to be tense, but in fact finds himself quite calm” (Coetzee, 1999: 165). This statement becomes unusual and surprising when it is looked from the serious matter that he talks about. In this way, the character of David Lurie has a strong confidence on himself, although, it is known that it might be a misled confident feeling since he neglects the situation and condition that he deals with.

(41)

4. Authoritative

A person, who is counting on himself higher than the others, has a tendency to be the authoritative one. Believing that his abilities are not always found in other people, one can simply think that his opinions are the best and suit for everyone around him. The character of David Lurie here experiences it along the story.

David Lurie is considered as an authoritative person who wants everybody does like what he commands. In relation with his daughter, he always tries to show his authority towards her. He wants his daughter, Lucy, to obey his demand. He thinks that Lucy is too young to choose her own path of life so that he forces Lucy to do what he wants (Coetzee, 1999: 133-134). It can be seen that he is a person who wants everything under his control. He thinks his daughter does not choose the right path for herself. In this case, David wants to make his daughter understand that he is the one who has a power to decide everything in her life.

As his daughter, Lucy sees his father as an authoritative one. She thinks his father tries to impose his understandings towards her. For her, it is not a good thing because she is also a person who has the same rights to choose her own path of life. It is seen when Lucy talks to her father.

‘Don’t shout at me, David. This is my life. I am the one who has to live here. What happened to me is my business, mine alone, not yours, and if there is one right I have it is the right not to be put on trial like this, not to have to justify myself-not to you, not to anyone else (Coetzee, 1999: 133). In this case, Lucy does not agree with her father’s belief that children must obey the parents’ expectations and children must follow the instructions from their parents in a way to choose the path of life. She does not like her father to be an

(42)

authoritative one. However, it is clearly seen that David Lurie in his daily life continues to show his authority towards others even his own daughter. The negative reaction towards his manner does not reduce the ‘bad’ way he treats others.

From the fact in the story that he asks Petrus to be the keeper of Lucy’s house without Lucy’s permission is indicated how authoritative David is. He does not want to hear Lucy’s opinion about this. According to him; it is the good solution for Lucy. He does not really care with Lucy’s feeling (Coetzee, 1999: 152-153). It seems that David does not take a lesson from what he and Lucy experienced before. He keeps on practicing his habit.

5. White

The pale-skinned race has its own position and meaning in the society. White means the powerful one in a particular society, but it can be different in another society. Here, the character of David Lurie is depicted as a white person. “He is sitting in the front room, watching soccer on television. The score is nil-all; neither team seems interested in winning. The commentary alternates between Sotho and Xhosa, languages of which he understands not a word “ (Coetzee, 1999: 75). From this extract, it can be seen that David Lurie cannot speak the local language in which he lives. He just speaks the languages where he comes from, “he speaks Italian, he speaks French, but Italian and French will not save him here in darkest Africa” (Coetzee, 1999: 95). In addition, he masters English very well. His ability in mastering English is not a doubtful fact. It is clearly seen how quick

(43)

he thinks about the meaning of the word friend, “modern English friend from Old English freond, from Freon, to love” (Coetzee, 1999: 102). Moreover, the evidence that proves his ability in mastering those languages can be seen from the works of arts he produces. In this way, his works of arts strengthen his identity as white people as well. The condition and situation that he deals with do not influence him. He is still a white person who has his own understanding about life and its aspects.

From the conversation between Lucy and David Lurie, it indicates who they are and where they are now. “Stop it, David! I don’t want to hear this talk of plagues and fires. I am not just trying to save my skin. If that is what you think, you miss the point entirely”(Coetzee, 1999: 112). This conversation does not only indicates that David and his daughter are white people, but also indicates that there is a problem of being white at that time in Africa. The situation in Eastern Cape becomes unpredictable. It is dangerous for David and Lucy to live there since they have experienced bad things.”…simply that we were the first white folk they met that day” (Coetzee, 1999: 118).

6. Superior

David belives that he is better than other people around him. He thinks that he is the best because he has the qualities that only a few people have. It makes him count himself superior. He does not care about the qualities that others have. He just sees things from his side.

(44)

The way he thinks about Melanie Isaacs is the evidence showing his belief in his superiority. He thinks that the other person, like Melanie, does not have enough capability to think deeply. It is clearly seen in the quotation taken from the novel.

Melanie would not have taken such a step by herself, he is convinced. She is too innocent for that, too ignorant of her power. He, the little man in the ill-fitting suit, must be behind it, he and cousin Pauline, the plain one, the duenna. They must have talked her into it, worn her down, then in the end marched her to the administration offices (Coetzee, 1999: 39).

He even counts the qualities that Melanie has are below the people around her. It shows how he sees himself and how he sees other people. He is sure that Melanie is weak and inferior.

From the eyes of David Lurie, his daughter is not capable to choose the ‘right’ significant other for her. He does not really know how the way of thinking of his daughter is, realising that there is also his blood in her, the superior blood. “ He has never been able to understand what Lucy sees in her; privately he wishes Lucy would find, or be found by, someone better “(Coetzee, 1999: 60). David secretly questions the ability of his daughter in this case. He is not sure that Lucy has the quality of superior. However, his opinion towards Lucy’s lover indicates his superiority towards her.

The fact in the story states that David Lurie does not like his daughter’s friends. He feels that they are all inferior and he assumes that Lucy cannot choose good friends for herself. It can be seen when he thinks about a friend of his daughter.

He has not taken to Bev Shaw, a dumpy, bustling little woman with black freckles, close-cropped, wiry hair, and no neck. He does not like women

(45)

who make no effort to be attractive. It is a resistance he has had to Lucy’s friends before. Nothing to be proud of: a prejudice that has settled in his mind, settled down (Coetzee, 1999: 72).

The way he judges a person by her cover is the manifestation of superior feeling he has. The ugly appearance of his daughter’s friend is the only reason to strengthen his belief.

In the small conversation between David Lurie and Petrus quoted, it is immediately seen how David’s way of thinking is. Moreover, it can be the clue guiding to the fact of what kind of person David is.

He is left with Petrus. ‘You look after the dogs,’ he says, to break the silence. ‘I look after the dogs and I work in the garden. Yes.’ Petrus gives a broad smile. ‘I am the gardener and the dog-man.’ He reflects for a moment. ‘ The dog-man, ‘ he repeats, savouring the phrase (Coetzee, 1999: 64).

The quotation above gives the impression that David is happy because Petrus indirectly notes his inferiority. It seems that Petrus glorifies the superior feeling of David. Being the person who has a responsibility to take care of dogs is not a respectful duty in David’s view. Nevertheless, in his mind, it does not matter for Petrus; he deserves to have duty like that because he is black people. He does not have to make Petrus understood his position in this case, Petrus already knows it. He thinks that his personal belief telling that he is the superior creature, once again, is admitted.

(46)

7. Arrogant

Here, David Lurie is depicted as an arrogant person. This quality might be considered too negative for a character like David. It concludes the way David behaves in his daily life.

The reaction that he shows when the committee from the University wants to hear the explanation from David about Melanie and him is surprising and unpredictable. He refuses the committee’s suggestion. He even says, ‘don’t tell me what to do, I am not a child’ (Coetzee, 1999: 41). It indicates that he is arrogant, he does not want anyone to destroy his dignity. He is angry if anyone wants to disturb his privacy. He feels not in a good mood even when Aram Hakim, his friend for years, shows his sympathy in this case (Coetzee, 1999: 42).

The conversation between David and his lawyer does not end well because David is insulted by the advice of his lawyer. It is clear in the following quotation. ‘What kind of undertakings?’. ‘Sensitivity training. Community service. Counselling. Whatever you can negotiate’. ‘Counselling? I need counselling?’...’To fix me? To cure me? To cure me of inappropriate desires? (Coetzee, 1999: 43).

This quotation immediately shows that David is the person who does not want to admit his failure. He is too arrogant to say that. He is sure that it is no need for him to take the counselling service.

Lucy realises that her father puts his dignity on a high level so that she can hardly believe that he wants to do like what the committee suggests. He is an arrogant person she knows. Her opinion about her father can be seen in the following conversation

(47)

‘What kind of compromise ?’. ‘Re-education. Reformation of the character. The code-word was counselling’. ‘ And are you so perfect that you can’t do with a little counselling? (Coetzee, 1999: 66).

Moreover, her prediction about the real fact in this case is true. It is not because there is no opportunity to fix the situation but it is all about her father’s arrogance.

8. Old

The character of David is described as an old person. It can be seen from the sentence, ‘for a man of his age, fifty-two, divorced, he has, to his mind, solved the problem of sex rather well’ (Coetzee, 1999: 1). In the beginning of the story, David is 52 years old. He deals with all the adult’s stuffs and he enjoys his life. He believes that his nature is fixed since he is an adult person. ‘ That is his temperament. His temperament is not going to change, he is too old for that….’(Coetzee, 1999: 2).

The fact that David Lurie is an old person can be seen through the direct comment in the novel. “Technically, he is old enough to be her father; but then, technically, one can be a father at twelve” (Coetzee, 1999: 1). It seems that the author wants to show David is created as an old person.

His daughter’s case, then, makes David realise that he is an old person. If there is no incident in Eastern Cape, he will not feel that. ‘For the first time he has a taste of what it will be like to be an old man, tired to the bone, without hopes, without desires, indifferent to the future’ (Coetzee, 1999: 107).

(48)

9. Male

The first sentence in the story says that the character of David Lurie is a man of a certain age (Coetzee, 1999: 1). He is described as flatterer and he is usually involved with woman. He uses his ability to produce beautiful sentences to get woman’s attention. ‘Because a woman’s beauty does not belong to her alone. It is a part of the bounty she brings into the world. She has a duty to share it’ (Coetzee, 1999: 16). However, David’s statement indicates that woman is created to satisfy the sexual desire of a man. David does not give his best appreciation towards woman. His sexual needs bind him and he cannot avoid it. Because of it, David is labelled as a ‘bad’ guy.

David believes that man is the best creature. It influences him to think that woman is in the lower rank. He always associates woman with unimportant things. It is clear in the quotation as follows.

What nosiness! Curious how the whiff of scandal excites woman. Does this plain little creature think him incapable of shocking her? Or is being shocked another of the duties she takes on-like a nun who lies down to be violated so that the quota of violation in the world to be reduced? (Coetzee, 1999: 147-148).

This statement shows his superior feeling. He, then, becomes too proud to be a man when he finds that woman really likes gossip.

10. Stubborn

In the story, the character of David Lurie is known as stubborn person. He does not really want to accept the others’ opinions although he realizes that it is

(49)

the best solution for him. He just keeps on his former understandings about the good path for himself.

Soraya, his former friend to share his bed, finds that David is stubborn. She already tells him that they cannot meet again because of some reasons but David cannot accept it. He then does something that Soraya hates most. He rents a detective to look for Soraya. It becomes a serious problem when Soraya wants to quit from this business, and both Soraya and David cannot meet a good resolution (Coetzee, 1999: 8-10). In this case, Soraya sees how stubborn David is.

The committee from the University also finds him as a stubborn lecturer. They wants him to admit the sexual harassment as his fault and to take a counselling service as a step to remedy, so he does not have to resign from his job. However, he does not want to do it. It is clearly seen in the following conversation.

‘Now we are truly splitting hairs. You charged me, I pleaded guilty to the charges. That is all you need from me’. ‘ No. we want more. Not a great deal more, but more. I hope you can see your way clear to giving us that’. ‘Sorry, I can’t’ (Coetzee, 1999: 58).

From the eyes of the committee, it is a hard job to make David understand because he is a stubborn person. In this way, David seems to hold his views tight so that none can come in.

The dialogue between Petrus and David Lurie which talks about Lucy’s case somehow emphasises that David is a stubborn man. It can be seen in the following quotation.

‘The insurance will not give me a new car,’ he explains, trying to be patient. ‘Assuming it isn’t bankrupt by now because of all the car-theft in this country, the insurance will give me a percentage of its own idea of

(50)

what the old car was worth. That won’t be enough to buy a new car. Anyhow, there is a principle involved. We can’t leave it to insurance companies to deliver justice. That is not their business’ (Coetzee, 1999: 137).

Here, it seems that David Lurie believes in the principle he holds. He never wants to accept others’ opinion if it is far from his understandings. Petrus tries hard to convince him that it does not like what he thinks but David still stands in his point. It is a hard job to make him agrees with others.

Furthermore, these are the general qualities that can be found in the character of David Lurie as human being. Among these general qualities, there are dominant qualities that can be considered as the qualities of the coloniser. The ways his dominant qualities can be seen as the representation of the coloniser’s qualities are found in the next discussion.

B. David Lurie’s qualities as the representation of the coloniser’s qualities

After analysing David Lurie’s general qualities, it becomes questionable whether or not the qualities of the coloniser can be represented through him. It is due to the ability of the main character in the novel to be a vehicle bringing particular meanings to discuss. Therefore, this part will discuss in what ways David Lurie’s dominant qualities represent the qualities of the coloniser. Theory of postcolonialism is going to be used to analyse the character of David Lurie in this part.

(51)

It is already explained that the coloniser is labelled as the one of mastery and control, rationality, superiority, skilfulness. Then, it is necessary to show if there are any significant correlations between the depiction of the main character of David Lurie in the novel and the labelled qualities of the coloniser.

1. Superior

It is said before that the coloniser is the one who is higher in position, that thinks oneself better than others. It is not surprising facts that the labelled qualities of the coloniser always follows the one who is in higher position. In the society, it is known as the part of Eurocentric views.

The main character in the novel is introduced as white person and as a man, certainly, to strengthen the image of superior creature itself. David Lurie as the main character who counts on himself better in quality and value, of course, contributes certain meanings to the readers. Never does he want to be the second creature, David Lurie here always wants to be the greatest one in the society. The realm of the society does not reduce his will to show his superiority, in fact, it encourages him to do so.

From the situation when his daughter is raped by three local people, it can be clearly seen David Lurie’s superiority. He is angry because he thinks he and his daughter do not deserve to accept such kind of robbery and sexual harassment in his daughter own house. He wants to seek justice in this case. He says, “I am Lucy’s father. I want those men to be caught and brought before the law and punished. Am I wrong? Am I wrong to want justice? “(Coetzee, 1999: 119). It

(52)

seems that David wants to show his power as the white man in front of the others. He wants others to know and understand his position in the society. He does not want others think he is a powerless man that cannot defence his own rights. However, in this moment, his opinion is different from his daughter’s opinion. It can be seen when David talks to his daughter.

‘Lucy, Lucy, I plead with you! You want to make up for the wrongs of the past, but this is not the way to do it. If you fail to stand up for yourself at this moment, you will never be able to hold your head up again. You may as well pack your bags and leave. As for the police, if you are too delicate to call them in now, then we should never have involved them in the first place. We should just have kept quiet and waited for the next attack. Or cut our own throats’ (Coetzee, 1999: 133).

It indicates that David Lurie asks his daughter to bring this case to the police in order to show their superiority as the white people. It is also the matter of dignity as the White.

David always loves to think that the local people are unable to use modern tools to cultivate the land. He always associates the local people with something that are traditional so that when he finds that Petrus uses tractor to cultivate his land, he feels that it is unusual phenomenon. It is clear in the following quotation.

Petrus has borrowed a tractor, from where he has no idea, to which he has coupled the old rotary plough that has lain rusting behind the stable since before Lucy’s time. In a matter of hours he has ploughed the whole of his land. All very swift and businesslike; all very unlike Africa…Petrus arrived as the dig-man, the carry-man, the water-man. Now he is too busy for that kind of thing (Coetzee, 1999: 151).

It means that David underestimates Petrus as the local person. David assumes that the local people do not match with all modern things. According to him, the local is just the second-class citizen so that it is unwise to let them deal with technology

(53)

and its products since technology always refers to the European who discovered modern technology and created the products. It is also seen when he finds that Petrus behaves like the European, he also thinks that Petrus does not fit it.

‘A girl is very expensive.’ He rubs thumb and forefinger together. ‘Always money, money, money.’ A long time since he last saw that gesture. Used of Jews, in the old days: money-money-money, with the same meaningful cock of the head. But presumably Petrus is innocent of that snippet of European tradition (Coetzee, 1999: 130).

These assumptions are the signs of his superiority that he eventually tends to blame the local people as the inferior one.

David already has many experiences in making relationship with others. However, his experiences do not lead him to have better way of thinking towards others. He still underestimates others if there is a chance for it. The culture in which he grows up may gives big contributions in establishing his manner and behaviour. It seems that the feeling of superiority stays in his mindset and none can take it away from him. Once he underestimates Petrus who is the local person. Later, he underestimates the other people. He dares to try many ways to make other people believed that he is the superior one. The depiction of the local people who most of the time deals with trifles just like when looking after the dogs, and working in the garden also points out that the local is the inferior. The presence of the local people in this novel helps to define the main character as the superior one with his contrasting image, idea, and duty.

His ambition to show his superiority can approximately be represented when David Lurie decides to come to Petrus’ party, which is held to celebrate the land transfer. His ambition is clearly seen in the quotation taken from the novel.

(54)

‘He is lying. He knows perfectly well. Lucy will confirm.’ But of course Lucy will not confirm. How can he expect Lucy to come out before these strangers, face the boy, point a finger, say, Yes, he is one of them. He was one of those who did the deed?. ‘I am going to telephone the police,’ he says. There is a disapproving murmur from the onlookers. ‘I am going to telephone the police,’ he repeats to Petrus. Petrus is stony-faced. In a cloud of silence he returns indoors, where Lucy stands waiting. ‘Let’s go,’ he says (Coetzee, 1999: 132).

David sees the chance to show his identity, as the superior one when he finds there is one of the robbers who rapes his daughter at that time. Although he knows that his daughter does not want to bring this case before the law, he threatens the robber and Petrus that he will call the police in order to strengthen his position in front of the local people. He wants to point out that the local people cannot treat Lucy and him badly. He will never scarify his pride and dignity as white people, also as a man. It can be seen in the quotation as follows.

As for him, he does not mind the attention. Let them know I am still here, he thinks, let them know I am not skulking in the big house. And if that spoils their get-together, so be it. He lifts a hand to his white skullcap. For the first time he is glad to have it, to wear it as his own (Coetzee, 1999: 135).

At this point, it is seen that he holds his strong belief in his own ability to survive and defend his rights. He knows that he will break the rules, which already become a consensus among the local people but he does not care about it. He believes that the local people must follow the social rules which is established by the white people since the white people has higher status than the local. It is also clearly seen that he is proud of being White because he knows that it means a lot in the society.

(55)

2. Educated

It is known that one of the purposes of colonialism is to teach the ‘right’ value of life to the local people. In order to do so, it needs the one who is educated to promote the value itself. Having the ability to think, understand, and make decisions based on reason is the basic need since it is one of the ways to make the local people believe in this system. Indeed, it is in the way of European language of reason and knowledge.

In Disgrace, Coetzee seems to successfully depict the main character as the coloniser by assigning some qualities to the readers. The employment of the main character as a lecturer, for example, is more or less employed as impression he creates to assure the readers that it has a relation with the labelled qualities of the coloniser.

Coetzee opens his novel with the depiction of the main character as an educated person. Here, the main character is positioned as a Professor of Communications. It can be seen in the following quotation.

He earns his living at the Cape Technical University, formerly Cape Town University College…adjunct professor of communications. This year he is offering a course in the Romantic Poets. For the rest he teaches Communications 101, ’Communication Skills’, and Communications 201, ‘Advanced Communication Skills’ (Coetzee, 1999:3).

It is clear that David Lurie as the main character in this novel has better skill and knowledge than other people around him. Talking about his duty as the lecturer of Communication, it is clearly seen that David Lurie has good comprehension in dealing with the subject. He is the one who teaches the local people to communicate well, indicating that he has a chance to promote his own belief to

(56)

the local people and to make sure that he has higher status in the society than the local does.

In contrast, the locals in the novel are associated with less educated people since their activity, besides take care of their farm, is only selling their own crops. This situation can be seen in the following quotation.

On their left are three African women with milk, masa, butter to sell; also, from a bucket with a wet cloth over it, soup-bones. On their right are an old Afrikaner couple whom Lucy greets as Tante Miems and Oom Koos, and a little assistant in a balaclava cap who cannot be more than ten…they have potatoes and onions to sell, but also bottled jams, preserves, dried fruits, packets of buchu tea, honeybush tea, herbs (Coetzee, 1999: 71).

The quotation above somehow shows that there is a sharp difference between the locals and David Lurie as the main character. The locals spend their time to work in a farm. Whereas, David Lurie deals with his interest in literature and all the stuffs. It is clear in the following quotation.

There is still the Byron project. Of the books he brought from Cape Town, only two volumes of the letters are left- the rest were in the trunk of the stolen car. The public library in Grahamstown can offer nothing but selections from the poems. But does he need to go on reading? What more does he need to know of how Byron and his acquaintance passed their time in old Ravenna? Can he not, by now, invent a Byron who is true to Byron, and a Teresa too? (Coetzee, 1999: 121).

This condition seems to highlight the quality of David Lurie as an educated person and to emphasise that the local people are weak in education. As a result, David Lurie has enough power to manipulate the locals’ ways of thinking since some of the locals do not really understand about the things outside their daily life as farmers, traders, and so on. Of course, there are some efforts coming from the rest

(1)

BIBLIOGRAPHY

Abcarian, Richard and Marvin Klotz. Literature reading and writing the human experience. New York: St. Martin’s Press, Inc., 1998.

Abrams, M. H. A Glossary of Literary Terms. Sixth Edition. New York: Harcourt Brace Jovanovich College Publishers, 1985.

Ashcroft, Bill, et.al. Key concepts in Post-Colonial Studies. London: Routledge, 1998.

Ashcroft, Bill, et.al. The Empire Writes Back. London: Routledge, 1989.

Barker, Chris. Cultural Studies Theory and Practice. London: Sage Publication Ltd, 2000.

Barry, Peter. Beginning theory An introduction to literary and cultural theory. Manchester: Manchester University Press, 2002.

Boehmer, Elleke. Colonial and Postcolonial Literature. New York: Oxford University Press Inc., 2005.

Bressler, Charles E. Literary Criticism An Introduction to Theory and Practice. New Jersey: Prentice-Hall Inc., 1999.

Coetzee, J. M. Disgrace. London: Vintage, 1999.

Culler, Jonathan. Literary Theory A Very Short Introduction. New York: Oxford University Press Inc., 1997.

Edgar, Andrew and Peter Sedgwick. ed. Cultural Theory The Key Concepts. Oxon: Routledge, 2002.

Editorial Staff of the New Encyclopedia Britannica. The New Encyclopedia Britannica. Chicago: Encyclopedia Britannica, Inc., 1983.

Fanon, Frantz. The Wretched of The Earth. New York: Grove Press, 1963. Gandhi, Leela. Postcolonial Theory A critical introduction. St. Leonard NSW: Allen&Unwin, 1998.

Gibson, Andrew. Postmodern Theory. Towards A postmodern Theory of Narrative. Edinburgh: Edinburgh University Press, 1996.

(2)

Haddad, Deborah Moore. “Hegemony.” International Encyclopedia of Government and Politics. Singapore: Salem Press Inc., 1996.

Hall, Stuart.ed. Representation Cultural Representations and Signifying Practices. London: Sage Publications& The Open University, 1997.

Henkle, Roger. Reading the Novel: An Introduction to the Techniques of Interpreting Fiction. New York: Harper and Row Publisher, 1977. Kukutani, Michiko. Chronicling Life Perched on a Volcano’s Edge as Change Erupts. New York Times. October 3, 2003. <http://www.nytimes.com/2003/ 10/03/books/03APPR.html>.

Lyall, Sarah. J. M. Coetzee’s, ‘Disgrace’ Wins Booker Prize. New York Times. October 26, 1999. <http://www.nytimes.com/library/books/102699coetzee- Booker.html>.

Murphy, M. J. Understanding Unseens: An Introduction to English Poetry and English Novel for Overseas Students. London: George Allen, 1988. Pettijohn, Terry F. Psychology a concise introduction. Connecticut: The Dushkin Publishing Group, Inc., 1992.

Riding, Alan. Coetzee, Writer of Apartheid as Bleak Mirror, Wins Nobel. New York Times. October 3, 2003. <http://www.nytimes.com/2003/10/03/arts /03NOBE.html>.

Said, Edward. “Orientalism” in The Post-Colonial Studies Reader. eds. Bill Ashcroft, Gareth Griffiths, and Hellen Tiffin. London: Routledge, 1995. Slemon, Stephen. Post-colonial Critical Theories. Post colonial Discourses. An Anthology. ed. Gregory Castle. Oxford: Blackwell Publishers Ltd., 2001. pp.101-103.

Stanton, Robert. An Introduction to Fiction. New York: Holt, Rinehart and Winston, Inc., 1965.

Summers, Della. Longman Dictionary of English Language and Culture Edition. Essex: Pearson Education Ltd., 2005.

Supratiknya, A. ed. Teori-Teori Psikodinamik. Yogyakarta: Kanisius, 1993. Tiffin, Hellen. “Post-colonial Literatures and Counter-discourse” in The Post- Colonial Studies Reader. eds. Bill Ashcroft, Gareth Griffiths, and Hellen Tiffin. London: Routledge, 1995.

(3)

APPENDICES

Appendix 1. The life of the author under study.

February 9, 1940 John Maxwell Coetzee was born in Cape Town, South Africa. He is the elder of two children. His father was trained as an attorney but practiced intermittently. His mother was a primary school teacher. His parents were Afrikaners but the language spoken at home was English. English was the primary language at primary school Coetzee attended in Cape Town, and at the Catholic boys’ school where he received his secondary education. Coetzee studied English and mathematics at the University of Cape Town, earning successive honours degrees in both subjects. Coetzee left South Africa and moved to London in 1962 because he was full of hatred of Apartheid, fear of conscription into Nationalist military police, and he also had a desire to pursue his writing skills as a poet. In England, he worked as a computer programmer for IBM in 1962-1963. Coetzee completed his master’s thesis on Ford Madox Ford and earned his M. A. in English from the University of Cape Town in 1963. Determined not to go back to South Africa, he next worked as a computer system programmer with International Computers and with secret British military weapons development. In 1963, he married Philippa Juber (1939-1991). They had two children, Nicolas (1966-1989) and Gisela (b.1968). Coetzee left England in 1965 because he got a Fulbright exchange program to enter a graduate school at the University of Texas-Austin. In 1969, he completed his doctoral dissertation on the early fiction of

(4)

Samuel Beckett and earned his Ph.D. in English, linguistics, and Germanic languages (http:// www.nytimes.com/books/97/11/02/home/coetzee-learned.html). His works included Dusklands (1974), In the Heart of the Country (1977), which won the premier South African literary award, the CNA Prize, Waiting for the Barbarians (1980), which won the Geoffrey Faber Memorial Prize, the James Tait Black Memorial Prize and the CNA Prize, Life and Times of Michael K (1983), which was awarded the Booker Prize and the Prix Etranger Femina, Foe (1986), Age of Iron (1980), which won the Sunday Express Book of the Year Award, The Master of Petersburg (1994), which won the Irish Times International Fiction Award and most recently, the memoir Boyhood: Scenes from Provincial Life (Disgrace, 1999: i).

(5)

Appendix 2: Summary of the J. M. Coetzee’s Disgrace.

In Disgrace, J. M. Coetzee employs the main character named David Lurie or commonly called David, fifty-two-year-old man who already has divorced twice. He is a European descent, who earns money as a lecturer at the Cape Technical University. He teaches Communication and offers a course in the Romantic poets this year. He does his job dutifully, for examples: sets, collects, reads, and gives mark the assignments. He is sometimes desperate to teach his students because he thinks that his students do not have abilities to understand the lessons. Besides, he enjoys his time in the university library to collect the data for his project. He has a strong desire to create an opera on Byron. He is thinking about it day and night. However, he habitually pays attention to many women for sexual purposes. He spends his time in Windsor Mansions with Soraya, a prostitute. He even shares the story of his life to her. The fact that Soraya cannot meet him again is shaken him. Then, he tries to find the reasons why she cannot meet him by paying a detective. It does not work well. Soraya feels that David is harassing her. For this cause, he tries to find a new one. Dawn, a new secretary in his department, is his target. He takes her to lunch at a restaurant for the first time and then the second time he takes her out, and they have sex. But, David is not satisfied with her. He looks at his student, Melanie Isaacs. At that time, he does many things to get her attention. He wants to be her friend, in order to get closer to her. Of course, his effort gives a result. He can force Melanie to satisfy his desire. At that time, he is very satisfied with the condition. He does not realise that

(6)

it can be a disaster for him. Melanie then reports his attitude to the university. As a consequence, he is expelled from the university.

Here then, David Lurie decides to move to his daughter’s house in Eastern Cape. He sees his daughter’s house is a perfect place to escape and finish his project. He spends his time to help his daughter, Lucy, and create his opera. However, it is difficult for him to adapt to the country life. He finds that the local people spend their time with unworthy activities. Of course, then, he believes that he is superior to the local people. As a result, he always tries to make the locals accept his Eurocentric views.

David Lurie : representation of Western hegemony in J.M. Coetzee`s disgrace.

DAVID LURIE: REPRESENTATION OF WESTERN

HEGEMONY IN J.M. COETZEE’S

DISGRACE

This undergraduate thesis is dedicated to

My Elohim

My late father

My beloved mother

My sister, Nova

Parts

Dokumen yang terkait

Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School

The Analysis Of Protagonist Found In “Cloud Atlas” By David Mitchell

Characters and theme analysis in J.M. Coetzee Novel Disgrace

Existentialism of Jack in David Fincher’s Fight Club Film

THE REFLECTION OF WESTERN HEGEMONY IN LANDON’S ANNA AND THE KING OF SIAM

HEGEMONY AS THE EFFECT OF ORIENTALISM IN CHIYO’S CONFESSIONS OF LOVE

Oratory as an Instrument of Totalitarian Regimeâs Hegemony in Orwellâs Animal Farm.

The Eliteâs Hegemony in Mayan Society in Gibsonâs Apocalypto.

Thoreau Henry David A Week

David Lurie : representation of Western hegemony in J.M. Coetzee`s disgrace - USD Repository

Dukungan

Links

David Lurie : representation of Western hegemony in J.M. Coetzee`s disgrace.

DAVID LURIE: REPRESENTATION OF WESTERN

HEGEMONY IN J.M. COETZEE’S

DISGRACE

This undergraduate thesis is dedicated to

My Elohim

My late father

My beloved mother

My sister, Nova

Parts

Dokumen yang terkait

Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School

The Analysis Of Protagonist Found In “Cloud Atlas” By David Mitchell

Characters and theme analysis in J.M. Coetzee Novel Disgrace

Existentialism of Jack in David Fincher’s Fight Club Film

THE REFLECTION OF WESTERN HEGEMONY IN LANDON’S ANNA AND THE KING OF SIAM

HEGEMONY AS THE EFFECT OF ORIENTALISM IN CHIYO’S CONFESSIONS OF LOVE

Oratory as an Instrument of Totalitarian Regimeâs Hegemony in Orwellâs Animal Farm.

The Eliteâs Hegemony in Mayan Society in Gibsonâs Apocalypto.

Thoreau Henry David A Week

David Lurie : representation of Western hegemony in J.M. Coetzee`s disgrace - USD Repository

Dokumen yang Anda mencari sudah siap untuk unduhkan

Oratory as an Instrument of Totalitarian Regimeâs Hegemony in Orwellâs Animal Farm.

The Eliteâs Hegemony in Mayan Society in Gibsonâs Apocalypto.