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CHAPTER II

LITERATURE REVIEW

2.1 Theoretical Framework

This chapter discusses the theoretical explanation about the related materials and concepts which are suitable with the chosen literary work. The theories are divided into main theory and supporting theory. The main theory is phenomenology, to prove the main character conflict and her reason of being matchmaker. Meanwhile, the supporting theory is new criticism focuses on character, to help finding out how the character in the story is characterized. Those theories are explained as follows:

1. Phenomenology

Phenomenology is a method of literary criticism which inspects the text without presuppositions about ontology or epistemology. (Ontology is the theory of the nature of being, Epistemology that of nature of knowledge). To the

phenomenologist any object, although it has existence in time and space, achieves meaning or intelligibility through the active use of a consciousness in which the object registers. Phenomenology finds reality in the physical realm of awareness. To accomplish the analysis of the object as it registers in the consciousness, the

phenomenologist suspends all presumptions, inferences or judgments about the object outside the consciousness. Phenomenological criticism sees the work of art as an aesthetic work, existing only in the mind of the perceiver (Nellickappilly, 10).

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Edmund Husserl (1859-1938) is widely known us as the founder of modern‟s phenomenology, a highly influential movement in 20th century western philosophy. Husserl was one of the prominent European thinkers of 20th century and the

movement has inspired from different streams (Nellickappilly, 1). In common with many other researchers working at the end of the nineteenth century, for example William James and Henri Bergson, Husserl was fascinated both by the ever-changing stream of conscious experience and by its apparent seamless unity. Furthermore, consciousness is the basis of all experience and its mode of appearing seemed to be inextricably linked to the nature of the time itself. Indeed, no experience would be possible without time consciousness; it enters into every experience. Somehow, out of this living flux of consciousness come the „achievements‟ of ideal, timeless meanings, the grasping of transcendent objects and truths (Moran, 60).

In developing the concept of phenomena, Husserl is influenced by Brentano, who make a distinction between psychological phenomena from physical phenomena. Brentano found that psychological is different form physical, as the former is

characterized by what is known as intentionally. Brentano says that mental

phenomena exist intentionally in acts consciousness, a phenomenon which is known as intentional in-existence. Brentano and Husserl maintain that every mental

phenomenon, or act of consciousness, is directed toward some object. They are about something that lies outside. While for Brentano, this is the feature of all

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psychological phenomena, Husserl replaces psychical phenomena with experiences or intentional experiences (Nellickappilly, 3).

Husserl conceives phenomenology in three important ways. Firstly, it is

conceive as the sciences, which endeavored to discover the basis of consciousness, in the second view, phenomenology is conceive as a first philosophy and therefore, it is coextensive with philosophy, as traditionally it is the latter which had been enjoying the status of first philosophy. The third conception of phenomenology is the most important one, where it is conceived as a transcendental idealism. This view

conceives the transcendental ego as the source of all meaning (Nellickappilly, 1-2). Phenomenology is a return to „phenomena‟. phenomenon as „what appears as such‟; in other words, everything that appears, including everything meant or thought,

in the manner of its appearing, in the „how‟ (Wie) of its manifestation (Moran, 127).

Phenomenology is the idea of phenomena, which according to Husserl, refers to ourselves, other people and the object and events around us, it also includes the reflection of our own conscious experiences, as we experience them. Phenomena constitute the things as they are given to our consciousness, whether in perceptions or imagination or thought or volition. There are two types of phenomena; mental and physical. Mental phenomena constitute of what occur in the mind when we

experience something. It also included the acts of consciousness, or its contents. On the other hand, physical phenomena include the objects of external perception starting with colors and shapes (Nellickappilly, 2).

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Phenomenology is not confined to mere philosophical doctrine about the nature of consciousness and the essences that are directly given to it. Instead, it proposes a method to isolate the essences. Everything perceived is bound up with the essence of perception which is different form the object that exists in nature (Nellickappilly, 5). Then phenomenology as the pure, presupposition less sciences of consciousness. The claim, as we have seen, means first of all that phenomenology cannot assume or utilize the result of any other science in it investigations (Moran, 126).

Besides, every intentional experienced gives meaning. In other words,

intentional experiences have the essential characteristic of giving some meaning. The various mental processes like remembering, imagining, judging, willing, describing, feeling, perceiving etc. have their own essence. The phenomenology method

examines these essences, by excluding what do not lie in the mental act itself (Nellickappilly, 5). In discussing the need for wide ranging theory of knowledge of the phenomenology is the experience of thinking and knowing, beside

phenomenology is best understood as a radical, anti-traditional style of

philosophizing, which emphasize the attempt to get the truth of matters, to describe phenomena, in the broadest sense as whatever appears in the manner in which it appears, that is as manifest itself to consciousness, to the experiencer.

Phenomenology first step to seek to avoid all misconstruction and imposition placed on experience advanced, whether these are drawn from religious or cultural traditions, form everyday common sense, or, indeed, from science itself (Moran, 1-4).

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Then the process of reduction has two broad phases: phenomenological and transcendental. The phenomenological reduction attempts to focus on pure

consciousness and it describes object not in their natural causal relations, but as they appear in the consciousness. Hence it is called phenomenological. Transcendental reduction on the other hand deals with the conditions that make any knowledge possible (Nellickappilly, 6). There are three types of reduction:

1. The phenomenological-psychological reduction is conceived as the gateway to the right form of phenomenological attitude from the natural attitude. 2. Eidetic reduction is the individual existence of the object in question is

bracketed, since phenomenology is interested only in the essence. The idos or essences are evaluated at this stage. The focus here is on properties, kind, or types and ideal species that entities may exemplify. This process

involves a free variation of the individuals in our imagination with this it finds out what characteristic these things have in common. It locates the variant forms which are essences.

3. Transcendental reduction proceeds with bracketing of the ego and its intentions. This stage ceases to affirm the existence of the ego as a psychological reality. With this we may get access to the transcendental subjectivity or the transcendental ego.

From the three types above, the first type is suitable to the conflict in the novel Emma, because a conflict occurs on the nature of Emma likes to pair or match the

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people around her. This theory is used to analyze the conflict in the novel Emma and how we can see clearly what the things that influences the occurrence of conflict in the novel.

2. New Criticism

New criticism is a formalist movement in literary theory. It emphasizes close reading and focuses on objectively evaluating the text. Readers‟ feelings or opinions about a text produce by some personal association from past experience rather than by the text (Tyson 135). By reading the text human may change their perceptions about literary work, human may assume, critic and conclude, but the literary text is same. Readers have an authority to interpret the literary text based on their experience and imagination as their creativity.

New critics did not ignore the obvious psychological, sociological, or philosophical dimensions of the text, they aestheticize them. They treat

psychological, sociological, and philosophical content the same way they treat the text‟s formal elements, to learn what these elements contribute to the aesthetic experience created by the work‟s organic unity (Bressler 58). By using New Criticism, interpretations of the reader stay within the context created by the text itself. When the reader reads the text they not only get new expansion of knowledge from the text, but also from the content of written text to engage aesthetic experience.

In addition the reader‟s personal life or background will affect his or her assumption

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Tyson has mentioned that formal elements of new criticism are elements forming the literary text. Those elements include images, symbols, metaphors, rhyme, meter, point of view, setting, characterization and plot (138). The ways knowing the

evidence of author‟s intention or give reader‟s interpretation is by reads the text and

understands all the evidence provided by the language of the text: its images,

symbols, metaphors, rhyme, meter, point of view, setting, plot, and characterization. From new critical perspective, a reader begins the journey of discovering a text‟s correct interpretation by reading a literary work and its relationship to the text. Since new criticism relates with characterization, this research is focus on the character development which can be noticed from several ways: showing character‟s

appearance, displaying character‟s action, revealing character‟s thought, letting the character speak and knowing the character from other‟s reaction toward the character base on the text.

2.2Character

In some studies, a story cannot exist without character; an author‟s success in presenting this idea often depends on his ability to create characters that are both interesting and functional. (Hurtik and Yarbe 37). A story exposes around its characters‟ life so that reviewing them becomes very interesting. Burhan

Nurgiyantoro claimed that talking about characters of one story, in many ways is more interesting than discussing on other elements (164).Character has an important role in a story, besides as a pawn that makes the story alive, character also viewed as

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a strategic position to carry a message or something that the author wants to convey in the story, so character which represents a person becomes something interested in the story.

In fiction, a character may be defined as a verbal representation of a human being. Through action, speech, description, and commentary, authors portray character that are worth caring about, rooting for, and even loving, although there are also

characters you may laugh at, dislike, or even hate.

Characters may be flat, minor characters; or round and major. The main character in a story is generally known as protagonist, the character who opposes him is the antagonist. Character is revealed by how a character responds to conflict. Every stories hinges on the actions undertaken by its main character, or protagonist, a term drawn from ancient Greek tragedy that is more useful in discussions of fiction than such misleading terms as hero or heroine. Additionally, stories may contain an opposing character, or antagonist, with whom the protagonist is drawn into conflict.

Abram (1981: 76) says that “Character is people who are appeared in a narrative prose or novel and it is interpreted by the readers as a person who has moral quality and certain tendency such as being expressed in what they say and what they do”. Character is the people in a novel are referred as characters. We asses them on the basic of what the author tells us about them and on the basic of what they do and say. Another point to remember is that the characters are part of broader pattern. They are

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members of a society, and the author distinctive view of who people relate to society will be reflected in the presentation of every character.

1. Main and peripheral character

The main characters the actors which appear the most in the story and always have connection with other actors. The main characters are the most dominant told in the story either do an action. Main characters really determine the

development of plot. The main character in a novel could be more than one in the different major quality.

Peripheral characters are the actors who have part in supporting the story. The presence of the peripheral characters in whole story is smaller. In other words, peripheral characters in the whole story are limited and they are usually only related to the main characters.

2. Protagonist and Antagonist Character

Protagonist is identical with all the good character inside the actors which had been chosen and created by the author. According to Altenberd and Lewis (1966: 59) that protagonist is a character who is admired by the readers, which always call as a hero because he always does ideal role and follows the rules and value in the society. The readers often give sympathy to the protagonist characters.

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The character shows hope and value can be supposed as protagonist character. Yet, sometimes there is character who does not give us the morality value.

According to Luxemburg (1992: 145) antagonist is the opposite character of protagonist either physically and psychologically. The antagonist character usually causes conflict for protagonist. Although there are other things such as disaster, accident environment and society, social rules, moral values, authority and etc. can cause conflict but if it is not done by a character, they are called as antagonist force.

In this novel Emma by Jane Austen, Emma Woodhouse is the main character in this novel, because Emma always appears in the story and always has

connection with other actors in the novel.

2.3Characterization

Characters and method of characterization are part of fictional contract and must be judged by their effectiveness within the story. The characters making comments may be imperceptive and this not understands to other character, or the feelings of the commenting character may influence these remarks. (Kirkland. 120). Avoiding these methods, the writer of story may force readers to interpret for themselves by giving them nothing more than the characters dialogue and actions.

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Character and characterization cannot be separated, but it is difference each other. In other definition, characterization is the creation of these imaginary persons, so that they exist for the reader as real within the limits of the fiction and have ability to characterize the people of one‟s imagination successfully is a primary attribute of good novelist, dramatist or short story writer (Holman 75).

In a fiction, the word „characterization‟ refers to certain of images of imaginary person which are do conceiving that they exist for the readers as real within the limits of fiction. (Holman.72). Characterization is the technique that an author uses to reveal the personality and character of imaginary person.

Characterization also plays important role in defining the habit of the character and enable the reader to dwell with the story. Characterization also helps the reader to comprehend the character of the person in the text.

Characterization can be divided in two parts, round character and flat character. Round character means that he or she has a complex character. His character seems changing periodically. It can be said that the character unpredictable. While flat character means that he or she has predictable character and his or her

character is not changing as the time being (Delahoyde 3).

Commonly in characterizing the characters, there are two ways that an author usually used. Those are direct and indirect characterization. Using direct manner means that the author describes directly about the character. The author attributes

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the qualities of characters in direct description. Otherwise, in indirect manner of characterization the author does not merely tell the characters but showing them to the readers through how the character looks, what the character does, what the character says, what the character thinks, and how the character affects other characters (Baldick 37). From these five things, the reader can understand and get a clear description of the character‟s personality.

The way how the author characterizes the character in the story has a big influence to the reader (Kennedy. 106). The reader will drift away into the story as if he or she is the character that exists in the story, and also the reader can feel what the character feels.

In this case, the study uses the theory of characterization to analyze the character of Emma Woodhouse in order to get her personality descriptions which further it can help the study to find out the conflict that happens of Emma in matchmaking the several characters in novel.

There are six methods which are used by the author to reveal the personality of the character (Josip Novakovich77-87).

2.1.3.1. Summary of the story

By telling the summary of the story, the author can describe the fictional person and its personality. The reader can focus to the main conflict which happens to the character and it can give the background that the reader must

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know. It will also make the reader understands the personality of the character easily if the writer can write the summary well.

2.1.3.2. The repetition or habitual action

This is the common concept that what the person has done for many times, it is possible that is the person‟s habit.

2.1.3.3. Self-delineation

It is also possible that the writer tries to explain the character through the character itself. This method is simple enough because the characters can portray themselves by introducing directly.

2.1.3.4. Appearance

It is almost same with the self-delineation method, but here the author describes the character through the character‟s appearance, so the reader can guess the personality of it.

2.1.3.5. Action

In the scene, the author can make the character moves. Here, the author can show the character from the voice, appearance, and its action without make the summary or depict them as general. However, it is possible for the writer to complete it with the summary too.

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2.1.2.6. Combination of some techniques

This method covers all the previous methods. The author has many chances and different style in describing the characters by combining some methods. Absolutely, it will also make the reader feels no bored in reading the story.

2.2 Review of Related Studies

This analysis is based on the previous analysis which has been done earlier. A study about the woman position19th century in Jane Austen novel Emma has been written in 2008 by Mufah Himah Aini from The State Islamic University of Maulana Malik Ibrahim Malang under the title Women’s Position in 19th Century English Social Life in Jane Austen Emma. That previous research focuses on two significant problems. She tries to find out woman role in Britain in 19th century and the woman position in 19th century. In her analysis, she uses theory of feminism.

Another study comes from Lucia Dwin Puspita Sari (2001), the student of Sanata Dharma University Yogyakarta who wrote down her thesis on the title Jane Austen

Women’s Positions in Marriage of the 19th

century as reflected in Emma Woodhouse Character in Jane Austen Emma. The study is identifies the descriptions of the main characters, then give the explanations about the aspect of marriage through Emma

Woodhouse character and the last description of Jane Austen‟s view toward women

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previously research. Because both of them are analyzes the woman position in 19th century of Jane Austen‟s Emma.

The last is a study from Eko Budi Setiawan (2012), Catholic University of Widya Mandala Madiun under the tittle Potraits of Class-Conciousness of Victorian Society through Main Character in Jane Austen Emma. This study focuses on two objectives. Firstthe analysis will be concentrated on Portrait of Class-Consciousness

of “Victorian Society” through Main Characters in Jane Austen‟s Emma. In order to

make this writing focus on the main problems, issues of social status in Emma are covered. Secondly, he also interprets the contestation of class interest of Victorian Society as portrayed on the characters through their dialogues or conversations and all statements stated by the narrators in Emma. Consequently, the effect of class-consciousness and class interest will arise the changes of social status. Those aspects will be analyzed in this research. Although the dialogues and conversations in the novel indicate colloquialism and their local color, all of these linguistic features will not be analyzed as an independent aspect since they belong to certain class of society, which in this research will be included in the analysis of cultural aspects. This study uses Marxism theory.

Those literary reviews and this analysis are not completely same in the whole aspect. First from the theory that uses this study the study used phenomenology theory but in those reviews uses Marxism and feminism theory. Then, focused analysis, in this study focused on how Emma is characterized in story and how the

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conflict on the story but in those reviews focuses on woman role and position in marriage in 19th century and portrait of class-consciousness of Victorian society through the main character in Jane Austen Emma.

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