NATURAL DISASTER VIDEOS AS MEDIA TO TEACH WRITING NEWS ITEM TEXT FOR SENIOR HIGH SCHOOL STUDENTS

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, November 2015. ISSN 2302-6278

NATURAL DISASTER VIDEOS AS MEDIA TO TEACH WRITING NEWS ITEM TEXT FOR SENIOR HIGH SCHOOL STUDENTS Amiruddin Hadi Wibowo Universitas Negeri Surabaya Abstract Many students experience many difficulties in writing a composition if teachers only give them titles to work. This case causes them reluctant and unable to do the task well. The teachers should be creative in teaching writing. The use of media is suggested to be used in teaching process. Generally spoken, the use of media may encourage the students to follow the teachers’ instruction clearly as the media provide direct stimulus for the students to learn the productive skills. The study offers natural disaster videos as the applied media to teach writing a news item text because the videos provide sufficient information for the students to start working with their composition. The result showed that the application of the media could enable the students to write a news item text. The media gave two basic information for the students. They were the language features and generic structure. From the latter fact, the students could make up a good concept to begin composing their news item texts. Thus, the use of natural disaster videos is worth implementing as the media to teach writing news item. Keywords: Writing, Natural Disaster Video, and News item Text A. INTRODUCTION English has been recieved and admitted as an international language. The latter is the reason for many people to learn this language to communicate with other people around the world. In non-English speaking countries as Indonesia, English has a position as a foreign language. In Indonesia, English owns different treatment with other foreign languages. Since it is an international language having the most speakers around the world, the educational policy introduces it from the kindergarten to elementary school level before setting it as the compulsory subject for high school level. Based on the Indonesian curriculum, the target of learning English is to enable the students to use English for communication in both oral and written. There are four skills of English learnt, speaking, writing, reading, and listening. The

writing is one of the four skills emphasizing on the accurate language use because when the students must compose a composition, they have to create a well-understood content using the standard grammatical structure. However, the writing is a complex activity which requires students to think hard about what they are going to write. Regarding the complexity of conducting the writing class, the common obstacles occuring in the process of leaning English is that the students usually find difficulties when they are given a certain material from the textbook. Then, the students hardly understand what the textbook discusses and when the teacher asks them to make a writing composition based on the given title. Mostly, they are confused with the instruction given by the teacher and finally they are getting bored of the lesson. 1

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When students begin to feel bored of the English lesson, they will ignore all materials in the teaching and learning activity. Thus, the goal of learning English is not achieved. Another case which arises is that the students do not only feel bored but also lose their enthusiasm in learning English. If it happens all the times, the teachers would get many troubles while teaching. Students are not the ones to blame for these cases, but teacher also should consider it as a kind of the responsibility to overcome because the teaching and learning process are mainly the cooperation between stu-dents and the teachers. Systematically, when the teacher explains material, the students are to listen carefully so the goal of teaching can be achieved by the teacher. The teacher also can give a kind of motivation to help them to understand a certain material and do a certain task. It means that the teaching writing is not very easy for the students to learn. When teaching writing, teacher must understand what kind of text the students will learn. There are many kinds of text, usually known as genre, such as descriptive, narrative, news item, recount, report, and so on. The genre we want to discuss more is a news item text which is used to inform listeners, reader, or viewers about particular events in certain time. A news item text begins with newsworthy events, backgrounds of the related information, and sources. The newsworthy-event part recounts the events reported in the text in summary form. Background parts elaborate the reported events, time, and involved participants. The content of sources is comments from participants, witness, or experts towards the events happening in the news. According to Eltis (1990: 34) a news item text is a factual text which informs readers of daily newspaper events of the day which is considered newsworthy or important.

To teach news item text, teachers should have many kinds of teaching methods to make various teaching conditions or media so the students will not be bored of the same teaching method. Then, one of the media is video, a recorded television program in a compact disc or digital video disc. The video is a technology of capturing, recording, processing, and transmitting motioned picture. The use of video in language teaching and learning is considered as an alternative way to present teaching material. There are three kinds of video which can be used for teaching and learning process in the class. They are off air programs, real world videos, and language learning videos (Harmer, 2001: 284). Natural disaster videos are the real world videos which can be one of the teaching aids as well as one of the material to get more ideas while doing a writing activity. It also tells their students about events caused by natural forces causing destruction of life or property. The well known natural disasters recorded in the video includes earthquake, mud slides, volcano, flood, tornado, etc. By providing the direct stimulus, it is assumed that the use of video can bring atmosphere into the classroom. Based on the phenomenon arising in the common teaching and learning process and supported by the use of natural disaster video as media to teach writing, it is needed to make a question regarding how the implementation of natural disaster videos as media to teach writing news item text is. B. FINDINGS AND DISCUSSION 1. Teaching Writing Writing requires teachers to study hard about how to state an idea in the form of sentence, something which is in the mind to the written text as Byrne (1991: 1) states that writing is the process of pro-ducing graphic 2

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, November 2015. ISSN 2302-6278 symbol which has to be arranged according to certain convention to form words and to arrange words into sentences. Heaton (1991:35) also states that writing skill is complex and sometime difficult to teach. It requires the mastery of grammatical and rhetorical device, concept and also judgment statement. Teaching writing also enables people to have a great chance to express their thoughts, to explain the ideas, and to convey the messages to other people in written forms. Carter et al (2002: 245) states that writing allows you to take your ideas out of the realm of thought and give them a form that other people can read and consider. Basically, teachers must undertsand some fundamental principals before teaching writing is conducted. Those principals occur in all kinds of text. According Pradiyono (2007: 33 - 34), the teacher firstly has to understand about the communicative purpose of the text that will be taught to the students then they also need to acquire the rhetorical structure or the generic structure of the text as well as mastering the language features of the text which include grammatical pattern and linguistic item. The methods, materials, and also the teaching aids to achieve the standard competence largely depend on the teachers themselves. It can be said that the methods, teaching aids, and materials which are used by the teachers should be kept on the lesson plan in order to achieve the instructional objectives. Harmer (2001:34) states that teaching writing is more than just dealing with hand writing, orthography (the spelling system), and punctuation but also helping students to communicate real massages in an appropriate manner.

important. A news item text contains newsworthy events, backgrounds and sources. The newsworthy events recount the reported events in summary form. The background elaborates the events, participants, and conditions. The content of sources is comments from participants, witnesses, or the experts towards the event happened in the news (Depdiknas, 2006: 25). News item, according to Eltis (1990: 34), is a factual text which informs readers of daily newspapers about events of the day which is considered newsworthy or important. Based on the standard of content for senior high school (2003: 50) news item text has two components, schematic structures (generic structure) and language feature. 3. Generic Structure of News Item Text Based on Depdiknas (2006:25), it is stated that news item has three significance schematic structures, they are:  The newsworthy event contains participant, headline, and description of event.  The elaboration contains background, participant, sequences and places.  Source contains the participants in, witnessses to, and expert on the reported event. Here is the example of news item text generic structure which is adapted from Bumi Aksara by Darjis et al (2008: 50) entitled The Floodborne Diseases Generic News Item text Structure Newsworthy JAKARTA : Jakarta residents Event have been advised to be on the alert for flood-borne diseases, including leptospirosis, which is transmitted through rat urine. Headline:floodborne diseases Elaboration “Aside from diarrhoea, residents must be wary of leptospirosis since the floodwaters could

2. News Item There are many kinds of text; one of them is news item text. This is used to inform listeners, readers, or viewers about particular events which are considered newsworthy or 3

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Sources

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contain the leptospirosis bacteria,” a senior official with the Central Jakarta Health office, Maryana, was quoted as saying by Berita jakarta. com Maryana said residents could avoid contracting the disease by ensuring good hygiene in their environments. “They should wear boots when walking through water that might be contaminated by rat urine,” he said. Saying verb: said (past tense) verbs: said, was, could contain, could avoid, might Adverb of place: Central Jakarta Health office Those infected by the disease display various symptoms including a prolonged fever, yellowish eyes and pallor, and require immediate medical treatment. Specific, detail information: Those infected by the disease display various symptoms including a prolonged fever, yellowish eyes and pallor

 

Adverb of place: Central Jakarta Health office Using simple past tense. : could contain, to be (was), said, Specific, detail information: Those infected by the disease display various symptoms including a prolonged fever, yellowish eyes and pallor.

4. Using Video to Teach Writing A careful look at the common elements to video features can help teachers to involve students in the skill of analysis. The use of videos can provide background information and proper stimulant for the four English basic skills activities, listening, speaking, reading and writing. It can be a good alternative because it offers the flexibility and can stimulate oral and written communication among the learners. Stoller (1994: 26) stated that videos offer the students significant experiences to draw information to initiate the written and oral communication while they are exploring a thematic topic. In writing activity, as stated by Tomalin (1994: 110), the use of video is considered as the activity involving language generated by the students about the video program. Moreover, Lonergan (2001:10) states that video can be used to motivate students to learn writing skill. Because the video show the audio and visual information where students will be stimulated to enjoy not only the show of the video but also the content presented within. In short, the use of video can be used as a stimulus for developing writing skill. Discussed in the previous elaboration that one kind of videos is the real world videos, the natural disaster video, one of the real world videos, contains real information of something happening in the world. Based on the function, it can draw the students’ interest to the happenings and information in the video (Arcario, 1994:118). Thus, it can be one of the teaching aids to guide the students to get more

Agustien (2004: 42) states that language features is a consequence of the communicative purpose of a text. It involves several linguistic components. According to Dardjis et al (2008: 188), news item text involves several language features as the followings:  Case of the brief information in headline: The Flood-Borne Diseases  Focused at :flood that bring disease containing the urine of rat  Using action verb: said  Using saying verb: said  Adverb of time: .......

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PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, November 2015. ISSN 2302-6278 ideas while doing writing activity because the videos can bring real atmosphere into the classroom. The natural disaster videos are taken from the recorded natural phenomena all around the world. The videos usually record natural phenomena happening because of the natural force and causing destruction. Fortunately, the video can be freely taken from the www. youtube.com which includes all natural phenomena around the world. These videos will show the students about the time of the event, the causes of it and the information to explain it.

should include brainstorming activity to activate the student’s background knowledge. The pre-viewing activity reviews the generic structures and language features which are in a news item text. To involve the students into teaching and learning activity, the teacher should give a news item text to the students and ask them to identify the generic structures and language features. After all, the teacher gives the students some questions related to the text to check their understanding. 2. Viewing Activity According to Stoller (1990: 13) the primary purpose of viewing activity is to facilitate the actual viewing of a video. It means this activity helps students focus on news which is happening, how it happens and also what the witnesses’ or experts’ reports are. In this activity, the video is shown right through. The teacher plays the natural disaster video and asks the students to identify news, background of event and the sources. The teacher can play the video twice to help the students get the information easily. After watching the video, the teacher and the students discuss what is happening in that video. The teacher asks the students some information about the news, background of event and the sources.

5. The Implementation of Natural Disaster Video in Teaching Writing News Item Text There are numbers of good reason to use video in writing class. According to ElAraby (1999: 113), video combines visual and audio stimuli so it is accessible to those who have not yet learned to read and to write well for providing sufficient context for learning. The videos provide real world events which can be one of teaching material to stimulate more ideas while the students are doing writing activity. Furthermore, Allen (2004: 319) stated that unlike the students who listen to sound–only condition, students who are in picture-and-sound conditions are more stable and easier in receiving information from the narrator. In order to exploit the video fully in the classroom, the teacher should integrate previewing, viewing, and post-viewing activities into the lesson.

3. Post-viewing Activity In post-viewing activity, the students are asked to write a news item text based on the video given. The students can use the information, which is already discussed. Those three steps play an important role to build students’ understanding on how to work with video while writing the news items text. The three steps are adopted from the Stoller (1993) so the teacher can understand about how to use new technique of teaching writing especially news item text. It is expected that students will lose

1. Pre-viewing Activity Stoller (1990: 12) states that the primary purpose of pre-viewing activity is to prepare students for the actual watching of a video because comprehension is partially determined by a student’s own background knowledge schemata. It means that this activity 5

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their boredom while studying English writing. However, the teacher is supposed not to count only on the video but, the teachers must control students’ activity by giving sharp instruction before the playing the video. The following example is the product of news item text which is composed while students watching the natural disaster video. The text contains the generic structure and linguistic feature. Here is the example of student’s writing about natural disaster Seconds to Tsunami Metro TV reported that Aceh people were sad because the huge tsunami happened in Banda Aceh on 26 December 2004. At that time, a powerful wave came from the sea swept all materials such as trees, cars, and any other woods on its way. Most people had been trying to avoid the huge wave caused by an earthquake in the button of the sea. An old woman handled her two sons and they were running fast. An old man who steered the pedicab for his four families was looking so afraid. On the other places, the old man was trapped in his car. Fortunately, there were two men helping him get out from his car. One people recorded the huge water sweeping all of material on its way. He said that the trees were taken out from the ground and the cars were all damaged. Terribly, some of the people were not able to run fast and avoid the huge waves. Tsunami had made all people of Aceh feel so miserable. The government has released the number of victims which was about fifteen thousand victims. Looking to the news item text above it contains the two important parts of text. They are generic structure and linguistic feature.

The first part of the generic structure are the news worthy event containing the headline, The Huge Tsunami Happened in Banda Aceh. Within the first part of generic structure, there is a description of event. It illustrates how the event occurs. For example, a powerful wave came from the sea and swept all materials. The elaboration describes the actual condition when the event happens. For example, most people had been trying to avoid the huge wave caused by an earthquake in the bottom of the sea. The elaboration part contains the participant involved in the event, the old man and the old woman, time, 26 December 2004 6

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, November 2015. ISSN 2302-6278 and place, Banda Aceh. The source elaborates how the event can be recorded or retelled. There are some supporting parts taking part in the source. The witnesses is the main source of the news telling or recording how the event happens. The expert confirms the further response towards the happening events. The text also has the linguistic feature which reflects the correct saying words for example said, reported, and released as well as correct action verbs for example reported, released, came, handled, steered, helped and recorded. The form of the verbs contained is usually in the form of past tense as reported, released, came, handled, steered, helped, recorded, was, were, reported and said. Finally, by using the natural disaster video, the teacher can explain the generic structures and language features of news item text easily from the played video. The use of natural disaster video also contains the events occurring in the audio-visual video so the student could find information about the event in certain time. Through natural disaster video, the students can understand the generic structure and language features of news item text implicitly and the goal of teaching writing news item text is achieved.

structure and language features of news item text implicitly. From the implementation, the students mostly can make a newsworthy event which contains the participant and the description of event. Yet, most of them neglected of the use of headline. For the elaboration, most of the students were able to make a background of event, place, participant, and the time. Working in the sources, the students could make it all. After obtaining and analysing the result, the use of natural disaster video could help the students make a good news item text based on its generic structures and language feature because the information needed in writing a composition was provided in the video. Thus, the implementation of the natural disaster video has answered the problem in this study. Finally, the next attempt is needed to make another research in the same field of study for the different grade of education and areas with various types of students or various genre of text. It supposed to enrich the variation of the use of natural disaster videos as an alternative in teaching news item writing. REFERENCES Agustien, Helena. 2004. The 2004 English Curriculum in A Nutsell:A Paper Presented at the 50th Anniversaryof the English Department Universitas Negeri Malang. National Seminar. Universitas Negeri Malang. Malang, 2 Oktober

C. CONCLUSION The natural disaster video is one of the alternative media in teaching and learning of writing. The teacher could use natural disaster video as the media in teaching of writing news item text so it could help students write a news item text. By using the natural disaster video, the teacher could explain the generic structures and language features of news item text easily from the played video. The use of natural disaster video also contains the events occurring in the audio-visual video so the student could find information about the event in certain time. Through natural disaster video, the students can understand the generic

Allen, Edward. D. 2004. The teacher as a Catalyst; Motivation in the Classroom. Malaysia : Pearson Education. Bryne, Donn. 1991. Teaching Writing Skills. Hongkong: Longman Group Ltd. Depdiknas. 2006. Kurikulum Kompetensi Mata Pelajaran Bahasa Inggris Untuk 7

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SMA. Jakarta:Pusat Kurikulum, Balitbang Depdiknas Eltis, L.A. Wultur. 1998. A Genre Based Approach to Teaching Writing Year 3-6. Australia: Common Publisher El-Araby, S. A. (1974). Audiovisual Aids For Teaching English: An Introduction To Material And Methods. London: Longman Group Ltd. Heaton, J.B. 1991. Writing English Language Test. New York: Longman Inc. Lonergan, jack. 1984. Video in Language Teaching. Cambridge. Cambridge University press. Pradiyono, M.Pd. 2007. Pasti Bisa. Yogyakarta: C.V. ANDI. Stoller, L. Fredricka. (1990). Films and Videotapes in the Content-Based ESL/EF Stoller, Fredica. 1994. Films and Videotapes in the Content Based ESL/EFL Classroom. Washington: FGP Int. Stempleski, Susan, Arcario and Tomalin, Bary . 1994. Video in Action: Recipe for using Video in Language Teaching. UK: Prentice Hall International. www.youtube.com http://www.neok12.com/NaturalDisasters.htm http://en.wikipedia.org/wiki/NaturalDisasters

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PROSPECTS, JurnalHumaniora, Sains, PendidikandanPengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278

THE CHARACTER OF EDNA IN CHOPIN’S THE AWAKENING: PROPPIAN FORMALISM A.M. Aziz STIBA “Satya Widya” Surabaya [email protected] Abstract One encounters a detailed depiction of a major literary character in Kate Chopin’s novelThe Awakening. The main character’s name is Edna Pontellier. Scrutinized with Proppian Formalism, Edna’s character is portrayed in such a unique way that the delienation does not include her personality traits, but her proper name, her dwelling place, and her preliminary presence in the narrative. From these outer depictions, one is able to observe Edna’s inner qualities which consist of her life and death, her innocence, and her maturity. Although Proppian Formalism is more widely known as a theory to read folktales than novels, the present endeavor concerning with Edna in Chopin’s The Awakening successfully brings out what is beyond the surface. Edna, in this case, deals more with her inner or spiritual self than her physical circumstances. Keywords:character, formalism, life and death, innocence, maturity, self A. INTRODUCTION The Awakening is a novel emphasizing a major character. For this reason, one may find a detailed elaboration of its main character, Edna Pontellier. Roberts (2009: 173) points out that when a fiction takes great pain in delineating a character, each action or speech, no matter how small it is, is a part of a total presentation of the complex combination of both the inner and the outer self that constitutes a human being. Edna is a human being in fiction to which Kate Chopin gives a meticulous portrayal. Her total presentation in the novel, therefore, may include her inner self; her life and death as well as her innocence and maturity. Vladimir Propp, one of important figures in Russian Formalism, has a unique theory of characterization. This is due to his using his theory to analyze Russian folk tales. This does not necessarily mean, however, that the theory applies

to Russian folk tales only. Dundes (in Scott, 1968: 3) emphasizes that Propp’s theory is clearly not limited to Russian materials and thus it should be useful in analyzing other forms of literary work, such as novels and plays. The uniqueness of Propp’s theory manifests, among other things, in the way he defines the term character. It does not refer to the personality trait of a character, but “dengan sifat kita maksudkan seluruh kualiti luar watak: umurnya,seks, pangkat, perawakan, keganjilan-keganjilan perawakan dan seterusnya” (Propp, 1967: 103). Propp further points out that “kajian mengenai sifat-sifat watak menetapkan tiga tajuk asas yang berikut: perawakan luar dan nama, keperihalan mengenai pengenalan watak kedalam naratif dan tempat penginapan watak” (1967: 104). Is it possible to address the inner self of a character by analyzing his 9

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or her outer self? Roberts (2009: 175) argues that when reading about characters in literature, one must look beyond circumstances, actions, and appearances and attempt to determine what these things demonstrate about character. One, therefore, must try to get from the outside to the inside because it is the internal qualities of character that determine external behavior. The analysis of the life and death as well as the innocence and maturity of Edna Pontellier is focused on her outward appearance and name, her initial presentation in the narrative, and her dwelling places.

married to a Creole, she is not completely at home in the society of Creoles. Sheespecially cannot accept the Creole entire absence of prudery. Their freedom of expression is initially incomprehensible to her, but willynilly she has to reconcile it with a lofty chastity that in the Creole woman is likely to be inborn unmistakable. However, when the name, Mrs. Pontellier, is put together with the nature of her eyes, it denotes the life of Edna. The eyes of this married woman are quick and bright. The eyes are free to swiftly turn upon an object and contemplate or think seriously about it. Nothing can be a barrier to her mind to work on her imagination. In this case, Mrs. Pontellier’s mind keeps alive even though to a certain extent she is dead because of her marriage to Mr. Pontellier. Mrs. Pontellier’s innocence can be seen in the frankness of her facial expression. This means that her face expresses lack of knowledge and experience of the world. In terms of her status as the wife of a Creole gentleman, her innocence manifests when it is the first time she is so intimately thrown among Creoles society. Even she is shocked to know that it is common for the Creoles to read a book openly while in Mrs. Pontellier’s culture such book should be read in secret and solitude. The maturity of Mrs. Pontellier is shown in the contradictory subtle play of her facial features. Mrs. Pontellier is definitely a married woman. In Grand Isle, however, she falls in love with Robert Lebrun. No matter how hard she hides her feelings, she cannot keep the mounting color back from her cheeks when she sees Robert telling amusing stories to a group of Creole women. In other words, her cheeks blush when seeing Robert. Her marital status, in this case, compels her not to directly declare her love for Robert.

B. DISCUSSION AND FINDINGS 1. Edna’s outward Appearance and Name The main character’s maiden name is Edna. In The Awakening, however, her marital status is married. Therefore, she bears her husband’s name. Her new name as well as her outward appearance are brought out in the following narration: Mrs. Pontellier’s eyes were quick and bright; they were a yellowish brown, about the color of her hair. She had a way of turning them swiftly upon anobject and holding them there as if lost in some inward maze of contemplationor thought.Her eyebrows were a shade darker than her hair. They were thick andalmost horizontal, emphasizing the depth of her eyes. She wasrather handsomethan beautiful. Her face was captivating by reason of a certain franknessof expression and a contradictory subtle play of features. Her mannerwas enga-ging. (p. 494) Her name, Mrs. Pontellier, suggests the death of Edna. When she gets married, she is tied to her husband. She is also tied to the culture of her husband. Edna is not a Creole, but her husband is. Though she gets 10

PROSPECTS, JurnalHumaniora, Sains, PendidikandanPengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 This shows that Mrs. Pontellier is a mature woman.

On the other hand, her marital status as a married woman does not prevent her from getting along with a male friend. This indicates the life of Edna. She finds it does not matter to spend her free time with Robert Lebrun at the beach. This means that Edna is still free to be herself or to do what she wants in spite of the fact that she is married. She does not yet completely lose her freedom. The innocence of Edna can be seen in the fact that Edna is young and she befriends with Robert who is young too. Edna is twentyeight years old. Because they are innocent, they directly take a rest on the porch by seating themselves facing each other in the presence of Edna’s husband, Mr. Pontellier. Edna and Robert are not afraid at all that Mr. Pontellier might be jealous or angry with them as the result of seeing their close togetherness. The maturity of Edna is delineated in her returning home from the beach. This means that Edna’s mind is so fully grown and developed that she is aware of her status as the wife of Mr. Pontellier who has an obligation to come home to the Pontelliers’ residence. No matter how happy she is with Robert Lebrun at the beach, she has husband and children to take care of.

2. How Edna is Introduced in the Narrative The way Kate Chopin introduces Edna in The Awakening also signifies her life and death as well as her innocence and maturity. Edna first appears in the novel when she and Robert return from the beach to the Pontellier’s cottage. The following fragment illustrates this: Mr. Pontellier finally lit a cigar and began to smoke, letting the paperdrag idly from his hand. He fixed his gaze upon a white sunshade that wasadvancing at snail’s pace from the beach. He could see it plainly betweenthe gaunt trunks of the water-oaks and across the stretch of yellow camomile.The gulf looked far away, melting hazily into the blue of the horizon.The sunshade continued to approach slowly. Beneath its pink-linedshelter were his wife, Mrs. Pontellier, and young Robert Lebrun. Whenthey reached the cottage, the two seated themselves with some appearanceof fatigue upon the upper step of the porch, facing each other, each leaningagainst a supporting post. (p. 494)

3. Edna’s Dwelling Place

Edna’s status as the wife of Mr. Pontellier when she is introduced in the narrative indicates her death. Edna gets married to a Creole husband. It is the culture of the Creoles society that a woman is supposed to idolize her children, worship her husband, and esteem it a holy privilege to efface herself as an individual and grow wings as a ministering angel. This means that Edna should sacrifice herself for the sake of her husband and her children. It is likely that she loses the freedom to be herself after marriage.

In The Awakening, Edna has at least three dwelling places. First, it is the summer resort of Grand Isle, a small hotel located fifty miles off the coast of New Orleans. Second, it is the Pontelliers’ fashionable home in New Orleans. Third, it is a house around the corner which is dubbed the “pigeon house” because it is so tiny. Each of these three places describes life and death as well as innocence and maturity of Edna Pontellier. As for Edna’s dwelling place at Grand Isle, Kate Chopin illustrates it in the fragment as follows: 11

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Mr. Pontellier, unable to read his newspaper with any degree of comfort,arose with an expression and an exclamation of disgust.He walked down the gallery and across the narrow “bridges” whichconnected the Lebrun cottages one with the other. He had been seatedbefore the door of the main house. The parrot and the mockingbird werethe property of Madame Lebrun, and they had the right to make all thenoise they wished. Mr. Pontellier had the privilege of quitting their societywhen they ceased to be entertaining. (p. 493)

The innocence of Edna is brought out by how the parrot and the mocking bird represent her. The birds are free to make noise without thinking much about whether the noise disturbs others or not. The same thing goes to Edna. She is free to “make noise” by getting along with people in the surrounding cottages without being afraid of making Mr. Pontellier jealous. In fact, the birds disturb Mr. Pontellier and the intimacy between Edna and Robert Lebrun disturbs theharmony of her wedded life with Mr. Pontellier. The maturity of Edna is also brought out by how the parrot and the mocking-bird symbolize her. No matter how noisy the birds are, they are put in a cage and thus it is up to the owner where to put the cage. The parrot is hung in a cage outside the door while the mocking-bird is hung on the other side of the door. The same thing happens to Edna. As a mature housewife she is willing to accompany her family to spend the summer vacation at Grand Isle. At the end of the summer, Edna is willing to follow her family to return to their home in New Orleans. In New Orleans, Edna dwells in the Pontelliers’ home which is illustrated as follows: The Pontelliers possessed a very charming home on Esplanade Street inNew Orleans. It was a large, double cottage, with a broad front veranda,whose round, fluted columns supported the sloping roof. The house waspainted a dazzling white; the outside shutters, or jalousies, were green. Inthe yard, which was kept scrupulously neat, were flowers and plants ofevery description which flourishes in South Louisiana. Within doors theappointments were perfect after the conventional type. The softest carpetsand rugs covered the floors; rich and tasteful draperies hung at doors andwindows. There were pa-

Edna’s death can be seen in how Kate Chopin describes Mr. Pontellier’s living in the cottage in patriarchal way. Mr. Pontellier’s activities are sitting, reading the newspaper, and walking around. It can be inferred that it is the wife who has obligations to do the housework and take care of the children. Though the Pontelliers has a servant or a nurse, the important point is that women do the household chores and men work outside the house. When at home, men take a rest, for example, by sitting, reading, and walking around the house. Even Mr. Pontellier has a special right on his society if they are no longer entertaining. This means that he has the right to warn Edna if she forgets what she should do as a housewife. Edna, in this case, loses her freedom to a certain degree. How Chopin describes Mr. Pontellier’s living in the cottage in a patriarchal way at the same time denotes the life of Edna. Edna in this episode does not need to find another dwelling place. In addition, she does not need to find a job to make money. Mr. Pontellier is ready to shelter her and to pay for her living. This means that Mr. Pontellier has fulfilled the physical necessities of Edna’s life. 12

PROSPECTS, JurnalHumaniora, Sains, PendidikandanPengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 intings, selected with judgment and discrimination,upon the walls. The cut glass, the silver, the heavy damask whichdaily appeared upon the table were the envy of many women whose husbandswere less generous than Mr. Pontellier.Mr. Pontellier was very fond of walking about his house examining itsvarious appointments and details, to see that nothing was amiss. He greatlyvalued his possessions, chiefly because they were his, and derived genuinepleasure from contemplating a painting, a statuette, a rare lace curtain —no matter what—after he had bought it and placed it among his householdgoods. (p. 519)

for Edna. Mr. Pontellier considers Edna his property and he greatly values his property or possessions mainly because they are his. She has been married to Mr. Potellier for six years. During these six years Edna has accepted to be treated as Mr. Pontellier likes it. Edna is so innocent that so far she has never been against such treatment like an object of possession. Though the treatment is favorable, human being is never like an object of possession. How Mr. Pontellier’s possessions symbolize Edna at the same time signifies the maturity of Edna. To Mr. Pontellier’s eye, nothing is amiss when he walks about his house to examine its assorted appointments and details. In fact, Mr. Pontellier only pays attention to the surface or outward qualities. He misses the inward ones. Edna who has grown and developed mind realizes that there is something that she does not get from the luxuries of her physical world. Therefore, she begins not to obey her husband by not putting on her reception gown on Mrs. Pontellier’s reception day. In addition to the Pontelliers’ home, Edna has another dwelling place in New Orleans. It is called the “pigeon-house”. Edna decides to abandon the Pontelliers’ home and takes up her residence in the “pigeon-house”. The “pigeon-house” and how Edna reacts to it are portrayed in the following fragment: The pigeon house pleased her. It at once assumed the intimate characterof a home, while she herself invested it with a charm which it reflectedlike a warm glow. There was with her a fee-ling of having descended in thesocial scale, with a corresponding sense of having risen in the spiritual.Every step which she took toward relieving herself from obligations addedto her strength and expansion as an individual. She began

Similar to the cottage at Grand Isle, the Pontelliers’ home is elaborated in a patriarchal way. The home is dominantly connected with Mr. Pontellier. This suggests that Edna lives in the home under the domination of her husband and thus it signifies the death of Edna. In this case, Edna has to follow the rules set by her husband for her. For example, on Mrs. Pontellier’s reception day, Edna does not wear her usual reception gown. Instead, she wears ordinary house dress. This becomes something to observe for Mr. Pontellier. Such patriarchal elaboration at the same time denotes the life of Edna. Mr. Pontellier provides Edna with a very charming home. Even many women envy Edna’s living in a home with the cut glass, the silver, and the heavy damask which appeared on the table everyday. These women must think that Edna lives a better life than they do. Superficially, this assumption is true because they do not know what happens with the inner life of Edna. So, Edna’s life here is only in the surface level. The innocence of Edna can be seen in how the possessions of Mr. Pontellier stand 13

A. M. Aziz developed mind, it is Edna’s own decision to select which one is the best for her physical and spiritual life.

to look with herown eyes; to see and to apprehend the deeper under-currents of life. Nolonger was she content to “feed upon opinion” when her own soul hadinvited her. (p.543)

C. CONCLUSION The life and death as well as the innocence and maturity of Edna Pontellier can be analyzed through the characterization theory of Proppian Formalism. Though famous for its superiority in studying the Russian fairy tales, Proppian Formalism can also be used to analyze literary works such as novels and plays originated outside Russia. As for Kate Chopin’s The Awakening, Proppian Formalism succeeds in uncovering the physical and spiritual life and death as well as the physical and spiritual innocence and maturity of Edna Pontellier. The novel also depicts the inner and outer self of Edna Pontellier in detail. The novel’s purpose, however, emphasizes more on the main character’s inner or spiritual self.

The life of Edna can be seen in how the “pigeon-house” pleases her. It provides Edna with intimacy and Edna provides it with charm. As a result, the “pigeon-house” not only has good outward but inward quality as well. Intimacy suggests that Edna feels her soul is close and friendly with her body. Charm refers to the outward quality. Edna is able to produce it because she is beautiful and her manner is engaging. Therefore, Edna makes the “pigeon-house” look attractive. The death of Edna can be noticed in the existence of obligations that have burdened her so far. She has been obliged to obey her husband, to take care of her children, to practice the habits and customs of the Creoles society, etc. By dwelling in the “pigeon-house”, she relieves herself from obligations and it adds her strength and expansion as an individual. Edna’s innocence is brought out by her tendency so far to follow other people’s opinion. Her lack of knowledge and experience in life compels her to obey her husband and Creole people in her surrounding. While staying in the “pigeon-house”, however, she trusts her soul. She puts the invitation from her soul into priority. Therefore, she is willing to leave the Pontelliers’ home to begin to dwell in the “pigeon-house” because it is the calling from her soul. Edna’s maturity is demonstrated in her beginning to see and to understand the deeper level of life’s undercurrents. There are some influences in Edna’s life. They may come from her husband and her society. As an individual who has grown and

REFERENCES Chopin, Kate. The Awakening in Donald Keesey. 1994. Contexts for Criticism. Mountain View, CA: Mayfield pp. 493-555. Dundes, Alan. “Introduction to the Second Edition” in Laurence Scott (trans.).1968.Excerpts from:VladímirProppMorphology Of

The Folk Tale1928. The American Folklore Society And Indiana University. Propp, V. 1967.MorfologiCerita Rakyat (trans. NoriahTaslim). Kuala Lumpur: DewanBahasadanPustakaKementeria nPendidikan Malaysia. Roberts, Edgar V. 2009. Literature: An Introduction to Reading and Writing (9thEdn). New York: Longman. 14

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DIRECTIVE ACTS FOUND IN BOYS IN CONTROL BY PHYLLIS REYNOLD NAYLOR Yulia Istiqfarrochmah Hardono STIBA SATYA WIDYA SURABAYA Abstract The study is about the directive acts found in Boys In Control by Phyllis Reynold Naylor. Itdescribes the four kinds of directive acts used by the characters namely, personal need, permission request, imperative and imbedded imperative. It aso explains how the characters use three types of sentence as the ways of using the directive acts namely declarative, interrogative, and imperative. Keywords: directive acts. A. INTRODUCTION Language is an important thing in people’s life since they do not live alone in this world. As social beings, people need to communicate each other and language becomes a unique human tool in expressing ideas and thought. In communication, people use language in written and spoken forms which show that language is a versatile means of communication in the society. Language has various functions in the society especially in the way it is spoken while it is used in communication. For example, speaker and hearer are connecting each other by making communication when they are sharing their feelings. Sometimes people use language to get someone else perform an action for them or even to influence the hearer’s behaviour. Overall, language enables people to do something, to know each other, to inform or get information, etc. These phenomena make the writer wants to know more about the use of language in communication. In real communication, people perform many things through their utterances, for example they express their feeling,

promise to do something, explain something or ask others to do something for them. Of course it is not easy to ask people or to make people do something, that is why speakers need to be able to use their language in order that people will not be offended by what they say. The writer is interested in analyzing one of the aspects of language in use namely directive acts because directive act is used by people in their communication to affect the behaviour of someone else’s and sometimes to force others to do something that they want. 1. Directive Act As it is stated by Yule (1995:129), “Directive is a speech acts used to get someone else to do something”. Meanwhile, Ulrich Busse (2008:88) explains that in the broadest sense directives are speech acts by means of which the speaker request the hearer(s) to do (or not to do) certain things. They are performed with the intention of commiting the addressee to some future course of actions in order to make the world fit the words via the hearer”. 15

Yulia Istiqfarrochmah Hardono The utterance “May I leave the room?” shows that the speaker asks permission to the hearer because he wants to leave the room and the hearer may agree or disagree to it, so the hearer will give his permission or prohibit him for leaving the room.

2. Kinds of Directive Act To account for the choise of directive form, Ervin-Tripp (1976) classifies directives into five types. They are: a. Personal Need or Desires Statement “Personal need or desire statements refer to the speaker’s wants. Personal need or desire statements are very direct and therefore unambigous”. This statement, explains that in personal need or desire statement, the speaker tells his wants directly in order to be fulfilled by the hearer. The statement is clear and direct so it can be understood by the hearer directly. For example: I need or I want some sugar. The utterance “I need or I want some sugar” shows that the speaker wants the hearer to do something for him that is give him some sugar.

e. Hints (sometimes with Humour) Hints are utterance with implicit message and also advice which are non-direct and non-explicit. From this statement, it can be known that speakers advice or tell their messages to the hearer indirectly. For example: “Look,” she said to her friend and her friend looks of shy. The utterance “Look,” can be identified that the speaker give a sign to the hearer bacause someone who is loved by her friend is coming and the speaker has a close relationship with the hearer. This type usually contains directive utterance with humour.

b. Imperative “Imperative is a command or order which is given by the speaker to the hearer”. For example: Give me some sugar. The utterance “Give me some sugar” shows that the speaker orders the hearer to give something, that is to give him some sugar.

3. Performative Utterance Blake (1990: 87) mentioned that “Request can occur in these forms: imperatives (command), declaratives (statement), or interrogatives (question)”. a. Declarative (Statement) According to Blake (1990: 87) “Declarative has the least force. It asserts that the speaker can ask the hearerto do something without any insistence”. e.g: “It is time for you to leave.” It means the speaker reminds the hearer that it is time for him to leave. The hearer may receive or refuse the speaker’s requestby staying or leaving because the speaker’s request has least force.

c. Imbedded Imperative “Imbedded imperative is a polite request rather than a command which is given by the speaker to the hearer”. For example: Could you give me some sugar (please)? The utterance “Could you give me some sugar (please)?”, is not a question although it is in question form but it is actually a polite request words by the speaker to the hearer to give him some sugar.

b. Interrogative (Question) Blake (1990: 87) describes “Interrogative has more force than declarative. It asserts that there is any little stronger insistence to the hearer. The addition or omission of a negative may also vary the force of an utterance”. e.g: “Isn’t it time for

d. PermissionDirective Permission directive is the utterance of the speaker in order to get the permission from the hearer. For example: May I leave the room? 16

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 you to leave?” it shows the speaker gives a request with more force rather than a question.

e.g: “Please eat your food!” it means the speaker asks the hearer to eat his food by using please word, so the insistence of the speaker’s utterance can be declined with a polite words.

c. Imperative (Command) Blake (1990: 87) describes “Imperative has the most force. It states that the speaker utters and asks the hearer to do something. The hearer must obey what the speaker has already said to him. The addition of address formsuch as a title of name, or a politeness formulasuch as please, it will normally reduce the forceofanut-terance”.

B. FINDINGS AND DISCUSSIONS In this part, the researchers discuss the kinds of directive acts and performative utterances through the table. Then, they also describe theresult of the analysis in the following table:

Table 1. The Kinds of Directive Acts The Kinds of Directive Acts Frag

Utt

Personal Need

Imperative



1

(1.1)

2

(2.1)



3

(3.1)

 

(3.2) 4

(4.1)

5

(5.1) (5.2)

Imbedded Imperative

  

6

(6.1)



7

(7.1)



8

(8.1)



(8.2)



9

(9.1)



10

(10.1)



11

(11.1)



17

Permission Directive

Hint

Yulia Istiqfarrochmah Hardono 12



(12.1) 

(12.2) 

13

(13.1)

14

(14.1)



(14.2)



(15.1)



(15.2)



(16.1)



(16.2)



(16.3)



(16.4)



(17.1)



15

16

17



(17.2) 18

(18.1)



(18.2)

 

(18.3)



(18.4) 

(18.5) 19

(19.1)



20

(20.1)



(20.2)



(20.3)



18

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 

(20.4)

Table 2. The Performative Utterance Performative Utterance Frag

Utt Declarative

Interrogative

Imperative



1

(1.1)

2

(2.1)



3

(3.1)

 

(3.2) 4

(4.1)

5

(5.1)

 

(5.2)



6

(6.1)



7

(7.1)

8

(8.1)



(8.2)



9

(9.1)

10

(10.1)

11

(11.1)

12

(12.1)



 

(12.2)



13

(13.1)



14

(14.1)



(14.2)

 19

Yulia Istiqfarrochmah Hardono 15

16

17

(15.1)



(15.2)



(16.1)



(16.2)



(16.3)



(16.4)



(17.1)

 

(17.2) 18

(18.1)



(18.2)

 

(18.3) (18.4)



(18.5)



 19

(19.1)



20

(20.1)



(20.2)



(20.3)

 

(20.4)

Based on the findings above, it can be described that the characters in the story often use directive acts in their communication which can be described as follows: personal need appears three (3) times, imperative eleven (11) times, imbedded imperative twenty two (22) times, permission directive once. Besides the four mentioned

above, there is also one classifications of directive acts which is never used by the characters, it is hint. The characters use personal need when they tell their wants. When the characters want to command someone, they use imperative. The characters also use imperative when they want to ask information 20

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 from someone. It will be different if the characters order to get the permission, they use permission directive. The characters never use hint because they do not have an authority to other to use hint. After knowing the kinds of directive acts which are used by the characters, it continues how directive acts are used by applying the three types of sentence. Those types of sentence are declarative, interrogative, and imperative. Based on the types of sentences there are two types which are mostly used by the characters. Those types are interrogative and imperative. Interrogative appears twenty three (23) times, and imperative eleven (11) times. The types of sentence which appears only three (3) times is declarative. They use interrogative when they want to ask for information from someone. The characters use imperative when they want to make an order and request and they use declarative to affect someone to do something without insistence. Finally the writer can say that directive acts are always used based on the social contexts of situation of the speakers to whom those directive acts are addressed.

declarative 3 (three) times, interrogative 23 (twenty three) times, and imperative 11 (eleven) times. REFERENCES Blake, N. F. 19990. An Introduction to the Language of Literature. London: Mac Millan Ed Ltd. Ervin-Trips, S. 1976. Is Sybil There? The Structure of Some American English Directives in Language in Society no. 5. New York: Holt, Rinehart and Winston. Ulrich, Busse. 2008. Speech Acts in the History of English. Amsterdam: John Benjamin Publishing Company. Yule, George. 1996. Pragmatics. Oxford: Oxford University Press.

C. CONCLUSION Based on the research findings above, it can be concluded that directive acts is one of the function of language which is used to get someone else to do something. There are four kinds of directive acts used by the characters those are personal need which appears 3 times, imperative 11 times, imbedded imperative 22 times, and permission request 1 time. Meanwhile hint is not found in the source of data. The way how the characters use directive acts are/using types of sentence. From this analysis, the characters use 21

Yulia Istiqfarrochmah Hardono

22

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, November 2015. ISSN 2302-6278

CODE-SWITCHING ON “SUROBOYO NYAMBUT GAWE” FOUND IN LOCAL LANGUAGE OF SURABAYA Norita Pusat Bahasa ITATS Surabaya

Abstract This study is concerned with the language that people use in local market in Surabaya found in Surabaya TV. Many people use more than one language when they are talking because in their places there is usually more than one language used. Despite the latter fact, it is only a small phenomenon of language shifting. It means that they tend to switch their languages in certain contexts of speaking. The switching language is known as a code-switching. The code switching means using alternations of linguistic varieties within the same conversation. Furthermore, the code-switching is the use of one more language in a sentence, dialect, or style. Based on the observation there were three factors that influenced people‟s language: (1) the place and interlocutors, (2) the ethnicity and (3) the tendency to adjust themselves with the speaking community. Like in Surabaya, many people in Surabaya use more than one language, Suroboyoan and Indonesian. So, many people use two languages although they are not Surabaya people. We can see the reality from local TV in Surabaya, as in Surabaya TV. Many ethics and people from other places used Suroboyoan language. Key Words: code-switching, Suroboyoan, Bahasa Indonesia, TV Program A. INTRODUCTION (1983: 291) states “Speech is one of the features that distinguishes most of human beings clearly from other species and therefore, its function in the life of man is a necessary part”.

A language is needed for human being for their communication. Without communication they will get much misunderstanding. The language is a tool of communication therefore language cannot be separated from human life. Palme (1983) states that the technical term used to refer to the study of meaning. The meaning itself is a part of language, a part of linguistics. It helps the people know what the others mean and want. In order to be able to talk meaningfully about anything, it is necessary to agree on meanings of the words involved. In everyday life, people reach the practical agreements of almost of all the words they use and make it effective. Stern

Linguistics, as a science, must not be concerned with specific instances but generalization is the concern. Ferdinand de Saussure (indicates this point, by stating the diction between language (langue) and performance (parole). Speaker meaning is what a speaker means when he utters a piece of language. Soekemi (2000: 3) states “speaker meaning can include both courtesy and hostility, praise and insult, endearment and 23

Norita

provoking”. The social relationships formed and maintained by the use of language are not necessary courteous and amicable. The meaning of words, phrases, and sentences can safely be taken as known to competent speakers of language. There are many languages which help people communicate more easily. Many people use more than one language in their single conversation. Frequently, the people switch two languages in their communication. Yet, the switching only occurs in few sentences or phrases then the speakers are back to the latter language, code. The codeswitching does not only happen in the twoway communication but also in the media mass, such as television broadcast. For example, a reporter interviews someone in a place which has more than a language, like Surabaya. So, code-switching is likely to happen. Furthermore, it is not only in a direct communication but also an indirect communication. The television broadcast, mostly, is one of the media indirect communications that help the people to have one-way communication. In the scope of sociolinguistics, media as social are institutions to develop communication. This study discusses the code-switching which is used to interview the sellers in Pasar Atom Mall Surabaya by Cak Iga, Surabaya TV reporter in the program of “Surabaya Nyambut Gawe”.

bilingual speakers uses more than one language in a single utterance above the clause level to appropriately convey speaker‟s intents. Utterances containing code-switching show the same “discourse unity” as utterances in one linguistic item. When the person does switching within a single sentence, the elements from the two different languages are generally joined. The linguistics varieties in code-switching may be different languages, or dialects, or styles of the same language. Sometimes the code-switching is influenced interpersonal relation (Coulmas, 1998: 149). The use of code-switching in social functions on a micro-level reflects group values and norms associated with the varieties in a community. Fischer in (Cárdenas-Claros, 2009) notes that three contextual factors should be taken into codeswitching. The first is the relationship amongst speakers. Second is the setting where the talk takes place and the last is the topic being discussed by the speaker. 2. Surabaya Language The Surabaya dialect, more commonly known as "Bahasa Suroboyoan", is a Javanese dialect spoken in Surabaya and the surrounding areas. These dialects are evolved and used by some people in Surabaya and the surrounding areas. Structurally this language is the harshest. However, the Javanese language with a smoother level is still used by some people of Surabaya (arek Suroboyo) as a form of respect to others. The use of polite Javanese (madya and krama) among the people of Surabaya is not as smooth as

1. Code-Switching Code-switching is the term used to identify alternations of linguistic varieties within the same conversation(Myers-Scotton, 1993). The code-switching occurs when a 24

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the use of it in Central Java, Yogyakarta and Surakarta, as the use of it in Surabaya context is much on mixing words. The Javanese which is generally considered as Suroboyoan dialect is the harshest form of Javanese. However, in fact, it shows the attitude of firmness, straightforwardness, and frankness. Surabaya people‟s way of talking directly influences the attitudes while having a talk. The attitude of Javanese‟s courtesy is not reflected in the life of theirs. For example in speaking, wong jowo should not be looking at the eyes of the person who is older or owns higher social position because it is considered disrespectful. However for arek-arek Suroboyo, it indicates that the person is a true coward because he does not dare to look at the eyes of the person. Surabaya people use a greeting item "rek" as their greeting typical which has meaning guys in English. They usually use it as this way "Rek, ayo mlaku-mlaku nang Tunjungan". It means "guys, let‟s go to Tunjungan". The typical item of “rek” in the Suroboyoan dialect actually initiates the friendliness to the listeners. The typical is not only in the greeting term but also in the sound change. They often change the /i/ sound to the /e/, for example the word “titip” /titip/ is pronounced as /tetep/ as well as the change of the /u/ sound to /o/ as in the word "tutup" /tutup/ becomes /totop/. Furthermore, for Surabaya people, Suroboyoan dialect is the identity for them because it is different with Bahasa Jawa in other cities (http://julaeha-kartiningsih-fib14.web.unair. ac.id). Besides Suroboyoan dialect, Surabaya people often use Indonesian language and

sometimes a little bit of English to communicate with others. In actuality, the codeswutching process in Surabaya does not only include the previous three languages, but also can be four or more langauges included within. The factor contributing to it is the fact that Surabaya, nowadays, is not only populated by original Suroboyo people but also new comers from some areas of Indonesia as from Madura, Medan, Jakarta and so on. 3. Population in Surabaya Describing the population of Surabaya, Javanese is the major ethnic in Surabaya. 83.68% of the total population belongs to Javanese ethnicand the rest of it is shared by various ethnics of Indonesia, Madurese (7,5%), Chinese (7.25%), Arabic (2,04%), and the other ethnic groups such as the Balinese, Batak, Bugis, Manado, Minangkabau, Dayak, Toraja, Ambon, Aceh and other foreign residents (http://dinkominfo.surabaya.go.id/dki.php?ha l=30). 4. TV Station in Surabaya Surabaya has eleven local TV stations; one of it is Surabaya TV. Surabaya TV is a local television in Surabaya broadcasted in Surabaya and its surrounding areas (Gresik, Jombang, Mojokerto, etc). Surabaya TV was formed on May 31, 2004 to celebrate the 711th birthday of Surabaya. Surabaya TV is broadcasted on 44 UHF. Surabaya TV now is on air at 05.00-24.00 pm and at 06.00-24.00 pm. One of the programs of Surabaya TV is Surabaya Nyambut Gawe. It is the porgram in which this paper should like to take investigation dealing with the code-switching in Surabaya. 25

Norita

bayine. (Audience, it turns out that there is a cheap baby box. If you want to lay your baby with you in the same place, here is the box.) Form the first conversation, the reporter used Javenese Suroboyoan, but the first seller mostly answered in Indonesian. Actually, the first seller was a Javanese. However, the dialect which was used by the second seller was the Javanese dialect. This condition occurred because the place where they talked and the speaking partners influenced the language use (Fischer, 2009). Further analysis found that the camera brought by the reporter influenced first seller‟s language. She thought that she was in television so she spoke Indonesian fluently and the dialect changed like Jakarta people. She thought that it could increase her social status as an artist because she was in TV. In fact, she knew well about Javanese or Suroboyoan language. Although she used Indonesian as her language when Cak Iga was interviewing her, Cak Iga continued using Suroboyoan language to create friendly situation. As the interview went on, the interlocutor‟s language was able to influence the language of the speakers‟. Cak Iga used Suroboyoan language and the seller switched her language between Indonesian and Surabaya language although she tried to keep her image in front of camera. It is different from the second seller. She used Suroboyoan language as her language. In the last part of the first conversation, Cak Iga switched into three languages, Indonesian, English, and Suroboyoan. In fact, his dialect is influenced by Suroboyoan language although he used

B. FINDINGS AND DISCUSSION On the day of the observation, Cak Iga, the presenter of Surabaya TV, came to Pasar Atom Mall to have a talk with two sellers there. He led one of the Surabaya TV programs, Nyambut Gawe program. This program was held at 3 p.m. on Monday. Cak Iga called the viewers with “bolo” or “dulur”. He mentioned bolo or dulur as typically friend greeting. Then, he called mbak or ning for women and cak or mas for men. When he spoke, Cak Iga did not use Suroboyoan code all the time. He tended to switch with Indonesian and little bit of English as OK. Not only Cak Iga but also the interviewee by the presenters also switched their language. In this section, Cak Iga came to two stores. The first store was the store sold the baby needs and the second store was a souvenir store. In the first store, the sellers and Cak Iga spoke Suroboyan many times but sometimes switched to Indonesian language. Here is the conversation: Cak Iga: Hargane piro iki ning? (How much is the price?) Seller 1: Delapan ratus lima puluh. (It is eight hundred and fifty thousand rupiahs). Cak Iga: Murah yo. (It is cheap, isn‟t it?) Seller 2: Iyo, gak sampek sak juta. (That‟s right. It is less than one million.) Seller 1: Mangkane belien ta mas. (Then go ahead.) Cak Iga: Pemirsa ternyata ndek kene onok box bayi murah. Soale, jika anda pengen nurokno bayi sampean bahkan sampean karo bojo sampean, yo iki nggon 26

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, November 2015. ISSN 2302-6278

Indonesian or English. The word "box" in Indonesian means kotak. Cak Iga did not say kotak bayi but box bayi. Generally spoken, the word Box bayi is more familiar to hear by the local television viewers, thus Cak Iga used box bayi as the phrases. Then, he used anda (you) to call his viewers because anda is a polite greeting term of Indonesian to address the viewers rather than using koen (the second person pronoun). However, in another conversation, he used sampean (the polite form of koen in Javanese) to call his audiences. In this case, sampean and anda have same meaning and language level. The use of the polite form of greeting term was supposed to create a respectful image of the presenter to the viewers although the presenter did not know who was watching the program. In the last section on the first store, Cak Iga gave joke to the audiences to create good atmosphere. Then, it would not create monotonous situation. He also switched his language while making a joke, from Suroboyan to Indonesian. It was hard to give joke in Suroboyoan language because at this time the joke would work well in Indonesian language. So, the reporter switched the languages, Indonesian and Suroboyoan, to make the audience understand. For the second conversation, Cak Iga came to another store, a souvenir store. At this store Cak Iga talked to the store‟s owner. Their conversation was not really different from the first conversation. Both of the speaker switched their languages when they talked. This was the script of the second conversation with the owner of souvenir shop.

Cak Iga: Bu Susan, sampean bukak toko nang kene mulai kapan? (Mrs. Susan, when did you start opening a store here?) Bu Susan: Lima tahun yang lalu pak. (It was five years ago.) Cak Iga: Ngedol opo ae bu, ben dolor nang omah isok ngerti. (What do you sell? To inform the viewers.) Bu Susan: Ini ada souvenir, handuk, dan lain-lain. (There are souvenirs, towels and many more.) Cak Iga: Kiro-kiro piro bu regone? (How much is the price?) Bu Susan: Murah, pak. Paling murah lima ribu (smile again). (It is cheap sir. The cheapest is five thousand.) Cak Iga: Dolor, nek sampean pengen golek souvenir ta mbordir-mbordin kain, iso teko nak Pasar Atom. Ok bu, opo artine Susan? (Guys, if you should like to buy souvenirs or embroideries, you can come to Pasar Atom. Okay mom, do you know the meaning of Susan?) Bu Susan: Ndak eroh pak. (I do not know sir) Cak Iga: Su iku artine baik, san suka menolong. Dadi Susan iku suka menolong yang baik. Iyo to Bu? (Su means good and san means jeen on helping. So, Susan means keen on helping for good things. Is that right?) Bu Susan: (only smiling) Cak Iga: Makane dulur, kerjo seng bener cek isok nyenengno anak bojo. (Thus guys, work well to make your spouses and children happy.) Susan is a Chinese. The Chinese ethnic almost dominates the markets in Surabaya and the employers are Javanese 27

Norita

meaning in English is the same as “let". Cak Iga did not only switch his language into Suroboyoan and Indonesian but also in English. He used "ok" to continue his conversation. He used "ok" because it was hard to change "ok" in Javanese or Indonesian. Actually, now the word "ok" is in common use in Indonesian, like “download” and “browsing”. So, all of the people observed here almost switched their languages to deliver their ideas. It is known that people in general can switch between different ways of interpreting events and feelings – a phenomenon known as frame shifting (Luna, 2008). From the analysis, there were many factors contributing to the code-switching occurring in those two conversations. The first reason is that they are hard to look for the vocabulary of those words in a certain language. Thus, they tend to switch their inuse language to another accommodative language. The second is that code switching made the listener understand the meaning of the speaker more easily. The third factor drove to the situations that the speakers were facing. If the situation was cheerful, they switched their languages. The penultimate factor is that the topic which they were talking about also influenced their languages. Then, the last is dealing with the interlocutors they are having a talk.

people. Then, the ethnic in Surabaya uses Indonesian to communicate and sometimes the Chinese people switch their language become Suroboyoan. Actually, they are able to speak Suroboyoan as common Sura-baya people but many of them try to keep their prestige as a Chinese by using Indo-nesian. The Chinese ethnic is minority but their economic is in higher rank than Javanese people‟s. This problem created asymmetry between those ethics because Chinese people usually think that their level is higher than Javanese people (Ghalih: 2010). It also happened to Susan. When Cak Iga was interviewing Susan, She replied at his questions in Indonesian. It might be used as an appreciation to her customers because the use of language depends on the relationship of the people (Fischer in (CárdenasClaros, 2009)). However, Susan spoke Suroboyoan in some occasion. It was proved from Susan‟s reaction to Cak Iga‟s joke. She answered the joke using Indonesian but she switched into Suroboyoan for several words as "ndak" (means no) and "eroh" (means know). In this conversation, Cak Iga did not only use Indonesian and Suroboyoan but also Javanese language from other cities. Actually, Javanese language from other cities is almost the same but the dialect and also few phrases or words are different. Aji (2013) stated "Javanese languages are diversed and this diversity is still growing till this time from the spoken form and written documenttation". There was a word "ben" (let). This word is used out of Surabaya, like Madiun, Nganjuk, etc. The word "ben" has the same meaning with "cek" in Suroboyoan and the

C. CONCLUSION Many people use more than one language when they have communication with others. There are reasons which influence their languages as the place and interlocutors. If they talk with their boss, 28

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they will use formal languages. It will be different if the speaker talks with his friend. So, the first conclusion is that the places and the speaking partners can influence the use of language (Fischer in (Cárdenas-Claros, 2009)). People‟s ethnic was influential to the language also, especially Chinese. The Chinese people tended to switch their languages in some occasions. Thus, the second conclusion is that the ethnicity of someone also influences his language and dialect. The last conclusion is that someone coming out of Surabaya would try to speak with Suroboyoan language to adjust the setting where the talk takes place or to build solidarity (Fischer in (Cárdenas-Claros, 2009)). If people from other places of Surabaya speak using their local languages, for example, Madiun people will use "cahcah", "ben", etc, would sound strange for the Surabaya people. Thus, they decided to use Suroboyoan language to ease their communication.

REFERENCES Aji, K. 2013. Macam Varian Dialek-Sialek Bahasa Jawa in http://infobimo.blogspot.co.id/2013/11/maca m-varian-dialek-dialek-bahasa-jawa.html Cárdenas-Claros, M. S. (2009). Code Switching and Code Mixing in Internet Chatting: Between „yes‟, „ya‟, and „si‟ a Case Study. The Jaltcalljournal, 5, 67-68. Coulmas, F. (Ed.). (1998). The Handbook of Sociolinguistics: Blackwell Publishing. Fischer, R. 2009. Where is Culture in cross-cultural reaserch? an outline of a multilevel research process for measuring culture as a shared meaning system. international journal of Cross Cultural Management, 9(1), 25-49. doi:10.117/1470595808101154 Ghalih. 2010. Upaya Mngatasi Isu Kewarganegaraan Melalui Pembauran Antar Etnis Jawa dan Tionghoa in http://srengengediningrat.blogspot.co.id/2010 /06/upaya-mengatasi-isukewarganegaraan.html). http://dinkominfo.surabaya.go.id/dki.php?hal=30 http://julaeha-kartiningsih-fib14.web.unair.ac.id Luna, D. 2008. How Switching Language Can Change Your Personality. In https://www.newscientist.com/article/dn1420 2-how-switching-language-can-change-yourpersonality/ Myers-Scotton, C. (1993). Duelling languages. Grammatical structure in codeswitching. Oxford: Clarendon Press. Palme, F. R. (1983). Semantics (Second ed.). London: Cambridge University Press. 29

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Soekemi, K. (2000). Semantics: A Work Book (Second ed.). Surabaya: Unesa University Press. Stern, H. H. (1983). Fundemental Concept of Language Teaching. Oxford: Oxford University Press.

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PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 SPEAKING ACTIVITIES FROM PLANNED TO UNPLANNED Chyntia Heru Woro Prastiwi IKIP PGRI Bojonegoro [email protected] Abstract Getting students to speak in the class can sometimes be extremely easy but sometimes be reluctant. The role of teacher/lecturer in designing various speaking activities is very crucial to overcome it. The study aimed at describing and evaluating seven speaking activities from planned to unplanned whether they are recorded or unrecorded. The data were obtained from the observation of speaking teaching practice during three semesters. The research result indicated that each speaking activity has strength and weakness and different ways of feedback giving as well as different criteria to be emphasized. As one speaking activity completes to another, various practices should be accommodate to build students’ communicative competence. The study will be beneficial for EFL teacher/lecturer as a reference to have various speaking activities. Keywords: speaking activities, planned, unplanned. A. INTRODUCTION Speaking is so much a part of daily life that people take it for granted. It means that speaking is the most basic means of human communication. As an oral productive skill, speaking in a foreign language has often been viewed difficult. Bailey (2005) calls speaking as a challenging language skill for some reasons. It contains reduced forms such as constructions reduction and elision, thus learners who do not have sufficient practice with reduced talk will retain their speaking in formal-sound and full forms. The other reason is the existence of slang and idiom in speaking without which the speaking is apt to sound bookish. The next rationale is that speaking involves stress, rhythm, and intonation which influence the meaning. The most arduous aspect of speaking is interaction. It means that English speakers are simultaneously demanded to monitor and understand other speaker.

All of those reasons are from the speaking aspects point of view. In the aspect of learners, there are some easons that make learners’ inefficiency in communication and make speaking is challenging, particularly for foreign language learners. Nervousness and being afraid of making mistakes in pronunciation, low levels of language proficiency, lack of vocabulary to express ideas, shyness or lack of confidence, and lack of an environment for practicing and using English are students’ factors that make speaking English difficult (Dewi, 2011). In addition, Togatorop (2011) concludes almost the same thing about students`barriers in speaking English, i.e. being afr1aid of making mistakes, feeling lacking of English ability, being shy to be laughed at, feeling that it is not important to practice speaking in English, and feeling lazy. Talking about practicing and using 31

Chyntia Heru Woro Prastiwi

English, teaching spoken language needs various interesting activities in the classroom. A classroom functions not only as a place to learn about the rules of language, but also as a place where students can practice using the language in conducive environment. Good classroom organization which support speaking activities has some features i.e. keeping everyone’s attention, accommodating wide range of students’ abilities and learning styles, encouraging weaker students, and avoiding discipline problems (Baker and Westrup, 2003). In some classrooms, speaking means that the students repeat sentences or recite dialogue, or chant English words. This kind of speaking practice will not lead to language acquisition as the target is not on communicative competence. Much practice does not equate to success. According to Renandya (2010), only perfect practice makes perfect. Speaking activities in the classroom is a continuum from controlled to free as well as from planned to unplanned. Broughton (1980) makes distinction of speaking activities into controlled, guided, and free oral work. Nunan (2003) examines three speaking lessons in language classroom, ranging from tightly teacher-con-trolled, to teacherfronted but conversational, to highly conversational and not under a teacher’s control. Thornbury (2005) makes distinction of speaking events into various dimensions i.e. transactional vs. interpersonal, interactive vs. non-interactive, and planned vs. unplanned. All of them are in the similar view that the final targets of speaking features are spontaneous, communicative, unplanned, and free from teacher’s interference. Thus, encouraging spontaneity is one of principles of teaching speaking, for most of speaking activities are spontaneous. Getting students to practice speaking in the class, especially spontaneously, can

sometimes be extremely easy but sometimes be very difficult for reluctant students in particular. For students whose English is in appropriate level, they will often participate freely and enthusiastically if they are given a suitable topic and task as well as a good class atmosphere. However, for students with low level of speaking are often reluctant to speak because they are shy and are not predisposed to expressing themselves in front of other people. Since speaking is very challenging for students in Foreign Language context, principles for teaching speaking are important to be considered. Nunan (2003) proposes five principles for teaching speaking. First, be aware of the differences between second language and foreign language learning contexts. Second, students should be given practice with both fluency and accuracy. Third, provide opportunities for students to talk by using group work or pair work, and limiting teacher talk. Fourth, plan speaking tasks that focus on negotiation for meaning. Last, design classroom activities that involve guidance and practice in both transacttional and interactional speaking. Other principle in teaching speaking is that the activity should meaning-focused output – using language productively (Nation, 2009), for example, storytelling, talking in conversation, and giving speech. Speaking activities are followed by speaking assessment, there are some criteria need to be hold. According to CELS (Cambridge Certificate in English Language Speaking Skills) Test of speaking, the four categories assessed in speaking are grammar and vocabulary, discourse management, pronunciation, and interactive communication. Grammar and vocabulary means that the students are awarded marks for the accurate and appropriate use of syntactic forms and vocabulary. The vocabulary must have 32

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 range and appropriate use. Discourse management refers to the ability of students to express ideas and opinions in coherent and connected speech. How to construct sentences and produce utterances to convey information and to express or justify opinions are assessed. Pronunciation is the production of individual sounds, the appropriate linking of words, the use of stress and intonation to convey intended meaning. Interactive communication implies students’ ability to interact with the interlocutor by initiating and responding appropriately at the required speed and rhythm. Interactive communication or interacttion-based activities to build communicative competence is the main feature of Communicative Language Teaching (CLT). In constructing communicative competence, students should interact during English lessons through pairwork or groupwork. Accuracy and fluency, in this context, should go together. However, they sometimes work against each other, particularly for beginning, intermediate, and advanced levels of speaking. Kayi (2006) states that various speaking activities can contribute a great deal to students in developing basic interactive skills necessary for life. The activities involve role-play, simulations, information gap, brainstorming, storytelling, interviews, story completion, reporting, playing cards, picture narrating, picture descrybing, and find the difference. When EFL learners do speaking activities, it is greatly possible to make errors. Bailey (2005) argues that in general, the practice in CLT is not to interrupt a learner to react to an error. It is important not to treat errors in punitive fashion, or to belittle the students when they are working hard to communicate in a new language. Luoma (2004) suggests peer evaluation in speaking assessment as it can help learners become

more aware of their learning goals, learn through evaluation, and learn from each other. Giving feedback is the next step after noticing learners’ errors. Useful feedback is concrete and descriptive and it relates examinee performances to goals or descripttions of good performances (Luoma, 2004). Realizing the importance of various speaking activities and making video recording upon them, this article described and evaluated seven kinds of speaking practices from planned to unplanned. The speaking activities mentioned in this research have been conducted and observed during three semesters in 2013-2015. Procedures and materials of each speaking practice were described, after that, evaluated each kind of activity by mentioning its strengths and weaknesses as well as explained about the intention of video recording of some speaking activities. B.

FINDINGS AND DISCUSSION

Below are the various speaking activities which are in the continuum from planned to unplanned. 1. Recorded Short Drama The students worked in group of four to make video recording of short drama. They had free topic and two weeks to finish the task as they needed long time to make consolidation in group. The story of drama may be adopted, adapted, or developed. After that, the lecturer played the drama in front of the class, gave comment, and suggestion. 2. Recorded Storytelling The students were demanded to make monologue video in free story topic. They could use media such as doll, puppet, picture, paper, or their face. In this case, if the students utilized doll, puppet, picture, and paper in storytelling, the audiences only know the sound, intonation, and flow of 33

Chyntia Heru Woro Prastiwi

story. However, when they choose using their face in storytelling, the audience will watch their facial expression. Since it was individual work, they were given one week to finish the task. The results of recorded storytelling were shown in front of the class. 3. Visual aid-based Presentation There were seven kinds of visual aids used by the students i.e. pie chart, bar chart, line graph, flow chart, organizational chart, table, and photo. They had to make power point of visual aid they got, then, present it orally. Of course, the lecturer firstly provided the example of presentation text and explained how to present each visual aid. The slides of power point only contain the picture, not full text of presentation. 4. English Contest in Class The first step was preparing the materials for English Contest. Then, divide the students into six groups and choosing three

students as the reader, jury, and moderator. The reader was assigned to read the questions and stated whether the answer is true or false. The jury functioned to count the scores and duration for answering the questions. Meanwhile, the moderator was responsible for managing the reader, jury, and participants, including reading the instruction and bridging from one round to the next ones. There were three rounds in this technique. In the first round, each group should answer 10 mastermind questions which need short answer, such as “What is Indonesian symbol of country?”, Where is Candi Borobudur located?”, Who is the first president of Indonesia, and so forth. Two groups with the lowest score were eliminated. The second round is called guessing game. Each group had to guess three words based on the clues given. The examples of some clues are shown in Table 1.

Table 1. Word Clues in Guessing Game Clues of word 1. It is related to animal. It is high, humped, and has a long neck. Mostly, we know this animal as a ship of desert. The colour is brown. It can survive in the limited water and hot weather. What is it? Answer: camel 2. It is about job. She/he wears a white coat and uses stethoscope. She/he examines children suffer from illness. Who is she/he? Answer: Pediatrician At the last round, there were two groups left and they had describing game. Both groups competed to be the winner of English Contest. Each group had to choose one of their members as the captain who

Tourism Object

was assigned to give direction/description of five words written on the selected two cards. The examples of cards for describing game can be seen in Table 2.

Table 2. Cards in Describing Game Food Stationery

34

Electronic

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 1. 2. 3. 4. 5.

Fountain Waterfall Park Lake Beach

1. 2. 3. 4. 5.

Omelet Bread Curry Meatball Noodle

1. 2. 3. 4. 5.

5. Mini Research The first step done by the lecturer to have Mini Research for speaking activity is preparing the questions for survey/questionnaire. The total number of questions should be accordance to the number of students in one group. If there are ten students in one group, there must be ten questions.

No

Glue Scissors Paper clip Folder Ruler

1. 2. 3. 4. 5.

Refrigerator Microwave Water heater Notebook Fan

The students then were divided into two groups. Each student had to make mini research/survey by asking one out of ten questions based on his/her turn. The questions were about “Music and You” and can be seen in Table 3.

Table 3. Questions of Survey Questions

1

What is your favorite sort of music?

2

Do the people you live with and your close friends share the same tastes in music as you? Where do you listen to music most-at home, in the car, or somewhere else?

3 4 5 6 7 8. 9. 10.

If you could choose one musical instrument to be able to play, what instrument would you choose? Do you like having background music while you are working/studying? If you like certain song, do you buy its CD, borrow from friend, or download it? Have you ever been to music concert? Have you got one or two favorite performers (solo singer/band group) at the moment? Do you ever sing in the bath or while you are working/studying? Would you like a child of yours to be a professional musician?

After the students got the answers, they had to make report in front of the class

based on the guided sentences which are provided in Table 4.

Table 4. Guided Sentence for Oral Report

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Chyntia Heru Woro Prastiwi

No

Guided Sentence

1.

My favorite sort of music is …..

2.

I choose it because…..

3.

I got question number….. The most interesting thing from the result of miniresearch is ….. My expectation on Indonesian music is …..

4.

6. Recorded Modified Role-Play It is called modified role-play because it was slightly different from the usual. The scenario for Roleplay commonly is provided by the teacher. In this research, the scenario was made by the students in pairs. Then, the scenarios were exchanged each other group. Each group got the scenario when they were asked to come in front of

the class. After reading and understanding it, each group had to act it immediately. The performance of each group must be recorded because at the end of session, the lecturer played all groups’ performances in order to give feedback. The examples of role-play scenario made by the students can be seen on Table 5.

Table 5. Students’ Scenario of Role-Play Scenario of Role-Play 1. Rani and Dinda are sitting in the canteen. They are talking about their boyfriend. After knowing and telling each other, surprisingly the boy they mean is the same person. What kind of conversation will happen? Written by: Rena and Putri 2. Today is Eva’s birthday. Aji wants to give a surprise. He goes to Eva by acting like a ghost. Eva is so scared. Aji goes away, then goes back to Eva. He asks Eva how many ghost she sees. Eva answers that there are two ghosts. Aji gets confused and scared more than Eva. What conversation will be? Written by: Eva and Aji 7. Small Debate The small debate was about general election to vote the Head of Bojonegoro Regency. The debate was open for session of question and answer. The researcher elected four students who have good ability to speak as the candidates of regent and one student as the moderator, while the rest students became the audiences as well as the voters. The moderator was responsible for

managing the debate including counting and announcing the gained votes of each candidate of regent. In this case, the lecturer divided the debate into three stages and provided some questions for each stage. At the first round, the four candidates were asked to explain each vision and mission if they are chosen as the Head of Bojonegoro Regency. Then, the audiences were demanded 36

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 to give their votes on a piece of paper. The candidate who got the fewest vote was eliminated. At second round, the three candidates were instructed to give each opinion on three main problems of Bojonegoro i.e. flood, illegal logging, and oil foreign company inflow. After listening to them, the audiences gave their votes. One candidate was eliminated at this stage. At the last round, the two candidates had to give their plans on two issues i.e. inclusive education and economic improvement. The candidate who got the most votes at the last round was declared as the next Head of Bojonegoro Regency.

create different ways to use them. Besides, in the course of looking for the story, reading, rewriting, and completing the story, can be further developed. This study proved that there were many ways and materials could be used in storytelling. Some students might use paper of somebody/something profile, doll, puppet, even their own facial expression. They might adopt, adapt, and develop the stories. Each students employed different sound, stress, and intonation in presenting the characters in the story. Although storytelling is categorized as planned speaking and does not motivate students to speak spontaneously, in short, it can arouse students’ creativities in terms of the material used, the story chosen, as well as the way they speak in presenting the story. A visual aid is a very useful basis for speaking activity including in presentation. Power point showing the slide of organizational chart, bar chart, pie chart, line graph, flow chart, table, or picture, can provide a context as well as language input for speaking. A slide show can help students to memorize the main point of speaking materials and to gain a good understanding of new vocabulary and grammar. However, in some learning situations, students focus only on translating and memorizing the content and the language. On the one hand, visual aid-based speaking can be a useful exercise particularly for the lower level, on the other hand it does not help students to speak fluently. Speaking activities which can be positioned in the middle between planned and unplanned speaking are English Contest in Class and Mini Research. Both accommodate preparation as well as unpredictability. That is why this technique is suitable for intermediate levels. Preparation means that the students have to do certain activities asked by the teacher/lecturer as the

1. Planned to Unplanned Speaking Recorded short drama, recorded storytelling, and visual aid-based presentation are included as planned speaking as learners have time to prepare and rehearse. So, they can be called prepared talks. In recorded short drama, learners act from the script. Through the script, they are helped in drawing attention to accuracy, appropriate stress, intonation, pronunciation, and speed. In this case, accuracy can go first than fluency as there is time to rehearse, edit, and revise the speaking. In drama, learners practice gestures, facial expression, eye contact and movement, proxemics, and prosody. It can arouse learners’ confidence and develop their empathy to other characters. Drama can engage emotional and intellectual characteristics. Having storytelling as speaking activity is good for students as it plays significant roles i.e. stimulate imagination and develop language ability as story relies so much on words. Using storytelling in EFL speaking classroom is motivating and immensely interesting as it can attract listeners and promote communication. Jianing (2007) concludes that stories in oral English encourage the students to find more interesting stories and 37

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basis material for their speaking. Meanwhile, unpredictability refers to certain activity that must be done spontaneously. English Contest in Class is an effective way to encourage the students to speak up in a fun way. Since they were challenged to win the contest, they have competetive atmosphere. In this case, they build their bravery to use English orally. Moreover, it can increase self-esteem of the students including introvert or restless students (Saniati, 2010). Becoming facilitator, the teacher/lecturer should prepare some materials before applying the technique of English Contest in Class. Similar to English Contest in Class, Mini Research as speaking activity also needs teacher/lecturer as a resource by helping the students in the design process. The results obtained from the survey/ questionnaire can then form the basis for the spontaneous oral work. Both questioner and respondent are ensured that they have something to say to each other which encourage the natural use of certain language–and thus can be situated in the middle of our communication continuum (Harmer, 2007). Small debate and modified roleplay were categorized as unplanned speaking activities. Small debate on Regency Head election is advanced level of speaking. Although in this activity, advanced students were chosen, while the low and intermediate ones just acted as the voters, it still has the strength. It sounds so discriminative but the advanced learners can be as a good model of speaking for their friends. This kind of small debate engaged all students in one attention as all audiences should give their votes based on the candidate’s oration. Moreover, the candidate should attract the audiences’ attention by giving good and attractive opinion and explanation. Since this debate

was open for question and answer session, it fostered spontaneous speaking. Like small debate, modified roleplay includes the element of uncertainty and unpredictability which is present in genuine conversation and discussion. Each group of students got the scenario when they were asked to come in front of the class. After they read and under-stood the other group’s scenario, decided who acted as what, then they acted out it. All happened spontaneously and might contain unpredictable possibility. One student had to respond soon the other without any preparation. Both small debate and modified roleplay can be used to encourage general oral fluency. Particularly for roleplay, it trains students for specific situation of real life. Both activities allow learners to be as creative as possible. However, if learners have almost no background information, they may find it difficult to do. Thus, it is strongly recommended that the scenario of roleplay should from students’ mind. That is why it is called modified roleplay as the scenarios were made by students and not provided by the teacher/lecturer. 2. Making Video Recordings Some speaking activities were intentionally video recorded for several advantages. Video is a much more accurate and complete record of a lesson than a written or audio recording (Richards and Farrell, 2005). For students, the data of video recording can be easily transferred to a laptop so that they can easily watch as many times as they want. It can promote self-reflection on learning and awareness for students upon their performances. Meanwhile, for teacher/lecturer, recording speaking activeties can capture many details of students’ performances, show the errors, and promote teaching reflection. 38

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 In teaching speaking, using video recording is very helpful in giving feedback–both assessment and correction on oral work. During communicative activities, the teacher/lecturer is strongly suggested not to give feedback by interrupting students’ communication as it can raise stress levels and stop the speaking acquisition process. The other problem of giving feedback after the speaking is that it is easy to forget what students have said (Harmer, 2007). Considering both problems of giving feedback on oral works, using video recording can be kind of solution. Since video can be played forward and backward, it is easy for teacher/ lecturer to show incorrectness and provide the correct version. Teacher/lecturer can also use video recording to ask the students to make peer assessment and hope that they will be able to correct themselves. This study presented three kinds of recorded speaking activities. They are recorded short drama, storytelling, and modified roleplay. The two first activeties were chosen as the representative of planned speaking while the last one was as the representative of unplanned activities. Recorded short drama and storytelling are sorts of accuracy activities while recorded modified roleplay is that of fluency activities. Appropriate feedbacks for accuracy work are showing incorrectness and getting it right whereas those of fluency work are giving gentle correction, recording mistakes, and after the event, responding to the content as well as the language form (Harmer, 2007). Chi (2011) suggested that for lessable students, more attention should be paid to correct repetition than to performance skills. Meanwhile, for moreable students, the proportion of repetition and performance skills should be considered carefully as this influences their motivation in learning speaking. Thus, video recording

eases the way the teacher/lecturer gives feedbacks including repetition and performance skill. Making video recording on speaking activities means using camera or mobile phone as a learning aid. Although it takes time, students can work cooperatively about acting, directing, and editing. The results can be satisfying and the activity can be highly motivating. Watching the video together in classroom while getting the feedback from friend/teacher/lecturer, especially peer video, can arouse learners’ curiosity, attract their excitement, and provide example of good model in speaking. C. CONCLUSION Varying speaking activities is crucial to encouraging reticent students to speak and helping the dominating students to participate appropriately. Multilevel classes with students at various levels of speaking can be engaged by providing opportunities for balanced interaction. Planned speaking activities are conducive for reluctant students but not for advanced ones and vice versa. Speaking activities from planned to unplanned have strengths and weaknesses but all must be accommodated as one speaking activity completes to another. Using video recording upon some speaking activities is helpful in giving feedback for students. It can be concluded that teacher/ lecturer should provide various speaking activities from planned to unplanned practices whether they are recorded or unrecorded.

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Second Language. TESL Journal, Vol. XII, No. 11. November 2006. (Online), (http://iteslj.org/Techniques/KayiTeachingSpeaking.html), retrieved on December 5, 2015. Luoma, Sari. 2004. Assessing Speaking. Cambridge: Cambridge University Press. Nation, I. S. P. & Newton, J. 2009. Teaching ESL/EFL Listening and Speaking. New York: Routledge. Nunan, David. 2003. Practical English Language Teaching. New York: Mc Graw-Hill. Renandya, W. 2010, September. Does Practice Make Perfect? Featured speaker at the International Conference on TESOL, Ho Chi Minh City, Vietnam. Richards, J. C. & Farrell, T. S. 2005. Professional Development for Language Teachers: Strategies for Teacher Learning. Cambridge: Cambridge University Press. Saniati, Ima. 2010. Improving Listening and Speaking Skills through English Contest in Class. In Cahyono, B. Y. (ed.). The Teaching of English Language Skills and English Language Components. Malang: State University of Malang Press. Thornburry, Scott. 2005. How to Teach Speaking. Edinburg: Pearson Education. Togatorop, Erikson. 2011. Students’ Barriers in Speaking English and Their Expectation on What Lecturer Have to Do to Help Them. In Cahyani, H. & Cahyono, B.Y. (eds.), Best Practices in the Teaching of English. Malang: State University of Malang Press.

REFERENCES Bailey, Kathleen M. 2005. Practical English Language Teaching-Speaking. New York: McGraw-Hill. Baker, Joanna & Westrup, Heater. 2003. Essential Speaking Skill. London: Continuum. Broughton, Geoffrey., Brumfit, Christopher., Flavell, Roger., Hill, Peter., & Pincas, Anita. 1980. Teaching English as a Foreign Language. New York: Routledge. Brown, H. D. 2001. Teaching by Principles: An Interactive Approach to Language Pedagogy. New York: Longman. Chi, Doan Linh. Guidance for Learner’s Improvement of Speaking Skills. Language Education in Asia, Vol. 2, Issue 2, 2011. (Online), (http://www.camtesol.org/Download/ LEiA_Vol2_Iss2_2011/LEiA_V2_I2 _04_Doan_Guidance_for_Learners_I mprovement_of_Speaking_Skills.pdf ), accessed on December 5, 2015). Dewi, Kartika Sari. 2011. Conducting Class room Survey as a Communicative Activity in Teaching Speaking. In Cahyani, H. & Cahyono, B.Y. (eds.), Best Practices in the Teaching of English. Malang: State University of Malang Press. Harmer, Jeremy. 2007. The Practice of English Language Teaching. New York: Longman. Jianing, Xu. 2007. Storytelling in the EFL Speaking Classroom. The Internet TESL Journal, Vol. XIII, No. 11, November 2007. (Online), http://iteslj.org/Techniques/JianingStorytelling.html, retrieved on December 3, 2015. Kayi, Hayriye. 2006. Teaching Speaking: Activities to Promote Speaking in a 40

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278

THE HOBBIT: A LIFE-CHANGING JOURNEY OF BILBO BAGGINS Ratih Kuswidyasari Lembaga Bahasa & Pendidikan Profesional LIA Surabaya Email: [email protected] Abstract This article discusses the journey and transformation of Bilbo Baggins as the main character, as well as archetypal symbols, in The Hobbit by J. R. R. Tolkien. Even though at the beginning he is considered as an anti-hero since he is the opposite of typical classic heroes, Bilbo experiences character development during his journey which transforms him into a hero of his own class. Jung‟s theory of archetype is applied in analyzing Bilbo‟s psychological stages and symbols depicted in the story, while Ramsdell and Chapman interpretation of Campbell‟s monomyth theory is used to uncover the life-changing journey undergone by Bilbo. Keywords: Hero, Life-Changing Journey, Character Development, Archetype A. INTRODUCTION Story has always been fascinating to many people regardless neither their age nor their genre preference. Some people prefer dark, thrilling sensation of Gothic stories while others choose beautiful love stories in romance. The Hobbit, a children‟s book and fantasy novel by J. R. R. Tolkien, is one of the classic novels captivating the readers of all ages since it was first published in 1937. The novel tells a story about a home-loving Hobbit in a quest to win a share of the treasure guarded by the dragon Smaug. Not only that the novel has a strong and interesting story, it also presents a series of characters and symbols challenging to analyze. Wiklander , (2011: 3) explains that The Hobbit—prequel to trilogy The Lord of the Rings that can be read as an independent story—carries many different themes and more than just a children‟s story. The theme good‟s fight against evil is especially strong in Tolkien‟s description of the Battle of Five Armies, which depicts how harsh and full of suffering a war is even though it is done for a right reason. Wiklander also states that The

Hobbit tells the tale of ethics and personal development besides the tale of war (2011: 3). We can witness it through the various characters in The Hobbit, most of whom are taken from fairy tales and represent qualities in us. We can see ourselves reflected through the traits of the characters that shape the story as ours shape our lives. Good, evil, proud, humble, brave and coward are only some of the many qualities displayed in the story. They are described ingeniously through the depiction of the characters‟ physical appearances, manners and action. The most interesting character in the novel is certainly Bilbo Baggins himself, whom Gonçalves dubs as an anti-hero since Bilbo, in the beginning of the story, does not have the quality of a classic hero such as Homer‟s Ulysses or Achilles, (44). First, his physical appearance is far from what we imagine a hero‟s will be. Tolkien describes Hobbits as little people who are half our height and smaller than the bearded Dwarves. They do not have any magic except the ability to hide quickly when something scares them. 41

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Additionally, Gonçalves explains that unlike the classic hero, Bilbo shows reluctance when he is asked to join the others on a quest because he considers it dangerous (44). He often displays his longing for his home and is not strong or courageous, nor does he have the quality of a leader. At the biggest confrontation in the story—the Battle of Five Armies— he even gets knocked unconscious and cannot fight in the battle that decides the victory of good over evil (44-45). Nevertheless, during his quest, which changes his life forever, he gains an internal alteration which makes him grow more mature and heroic. This article discusses Bilbo Baggins‟ journey throughout the story as well as character development and symbols depicted in the novel. The journey is explained using Joseph Campbell‟s theory of monomyth and by using the archetype theory developed by Carl Jung, a European scholar with a vast knowledge in the symbolism of complex mystical traditions.

person. Furthermore, Jung explains that „themes of archetypal images are the same for all cultures, are common to all people of different ages, races, and cultures and correspond to the phylogenetically conditioned part of the human structure‟ (Adamski, 2011: 563). Sharp (2001: 14) acknowledges that motifs, as well as images and patterns, are the materializations of the archetypes well recorded in art, literature, history, and mythology. He gives several examples for the archetypes, such as Odysseus, Joan of Arc and Pinocchio as the archetypal images of the hero archetype and left and political parties as the archetypal motif of the “two brothers”, which represents the antagonism of Cain and Abel. The collective unconscious is the reason we can perceive similar patterns in folklores all over the world where the main characters, including our Bilbo Baggins although considered as an anti-hero, in those stories experienced a life-changing journey full of trials and tribulations in order to get „the prized treasure‟.

B. DISCUSSION AND FINDINGS

2. The Journey of a Hero Joseph Campbell, (2004: 28) widely known for his monomyth theory, explains that there is a “standard path” which is also considered as “the rites of passage” when heroes set on their mythological adventure: departure—initiation—return. In those rites there are some steps experienced by the hero where he/she will meet his/her helper, face his/her tests or trouble, then win the day. In departure stage which Campbell also calls separation, there are five subsections: the call to adventure, refusal of the call, supernatural aid, the crossing of the first threshold, and the belly of the whale (34). The second stage initiation is defined as the stage of the trials and victories of initiation which has six subsections: the road of trials, the meeting with the goddess (Magna Mater), woman as the temptress, atonement with the

1. Jung’s Archetype Adamski (2011: 564) explains that from a thorough research about human personality, Jung found that human personality is divided into three psychic levels: conscious, personal unconscious, and collective unconscious. Collective unconscious consists of „the instincts (biologically conditioned response patterns) and the archetypes (symbols, signs, patterns of behavior, thinking and experiencing), physically inherited from our ancestors‟. Archetypes, according to Jung (1969), are the contents of the collective unconscious which are archaic or primordial, “with universal images that have existed since the remotest time”. This unconscious is different from personal unconscious which comes from personal experience and is not acquired by the 42

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 father, apotheosis, and the ultimate boon. The final stage of the heroes‟ journey or return also has six subsections: refusal of the return, the magic flight, rescue from without, the crossing of the return threshold, master of the two worlds, and freedom to live (34-35). This article, however, apply Ramsdell and Chapman interpretation of Campbell‟s steps which is excerpted as follows: 1. The Ordinary World: the hero is clueless about his/her personal potential or calling. He/she thinks that he is just an ordinary person without realizing that he/she is destined to do great things. 2. Meeting Wise Mentor : a time when someone whose duty is to guide and help the hero who has committed to the quest, consciously or unconsciously, appears or becomes known 3. Call to Adventure: a point where the hero is given notice for the first time that everything is going to change whether he/she knows it or not. 4. Refusal of Call or Reluctant Hero: the hero refuses to answer the call to adventure because of many reasons, i.e. a sense of duty or obligation, fear, insecurity, or a sense of inadequacy. 5. The First Threshold: this point is where the hero traverse into the world of adventure, leaving his/her familiar, safe world into an unknown and hazardous territory where everything is uncertain. 6. Tests, Allies and Enemies: in this part the hero undergo a series of tests, tasks, or ordeals to begin the transformation. He/ she often fails one or more of these tests, which often occur in 3s. 7. Supreme Ordeal: this point is sometimes described as the hero‟s darkest moment. He/she separates his/her old world and old self with the potential for a new world or self. By entering this stage, the person shows his willingness to make a

8.

9.

10.

11.

12.

change, to “die” and become a new person. Revisiting the Mentor: the hero revisits the lessons of an old mentor or meets and learns from a new mentor and afterward returns to the path he/she started on. Return with New Knowledge: this is where the hero comes back to his/her life and integrates the wisdom he/she gain from his/her quest to everyday life. He/ she often gets guides and rescuers to assist him/her to his/her life. Seizing the Sword (or Prize): at this point the hero faces old enemies with the new power and knowledge achieved and is able to conquer them. Resurrection: the hero‟s old self dies physically or spiritually and transforms past the normal human state where the hero acknowledges his new standing. This can be considered as a period of rest, peace, and fulfillment before the hero begins the return. Return with Elixir: at this part the hero achieves the goal of his/her quest, getting the prized treasure which will help to make his/her life better.

3. The Beginning This is the first rite of passage, the separation, which Bilbo must get through in his journey. There are several steps that belong to this rite before Bilbo actually enters his adventure and faces life-threatening danger. First is the ordinary world. Bilbo Baggins is a hobbit, a race of gentle and pacifist mythical creatures that enjoy their good life in their peaceful Shire. They live in burrows which offer them comfort and warmth, and have more than three mealtimes a day. By nature, they are not fond of adventure since they consider it hazardous to their health. Even though there are some of the relatives from his mother‟s side have the tendency to go against that nature, Bilbo 43

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himself is pretty much a true hobbit to the core, who does not belong to a classic type of a hero since he does not have the quality of a leader. That is why we can classify Bilbo as an anti-hero for his lack of bravery and leadership. The second step is meeting wise mentor where Bilbo meets Gandalf for the first. At first he is quite annoyed by Gandalf since he does not know who he is, and unfamiliarity is not something that sits well with a hobbit. Albeit he finally recognizes Gandalf as a wizard who created amazing firework, he still sees Gandalf as a slight disturbance to his morning routine, enjoying a leisure time by smoking his pipe. Morning in archetype is a symbol of birth or beginning. His first meeting with Gandalf in the morning can be considered as the beginning of a new chapter in Bilbo‟s although he does not aware of it yet. Gandalf as Bilbo‟s mentor first action is preparing Bilbo for the arrival of Thorin Oakenshield, a forgotten dwarf prince, and other dwarves who want to reclaim the dwarf kingdom‟s treasure stolen by Smaug the evil dragon that also destroyed their homeland during its attack. Gandalf is a qualified mentor for Bilbo as he is a powerful wizard, although in the beginning Bilbo cannot see it. He is wise and able to provide magical assistances whenever Bilbo and his other companions are in deep trouble. He does not assist Bilbo all the time, however, because he believes that Bilbo has the potential to overcome his problems. Thus, he gives Bilbo a chance to develop himself and become mature during his journey. After passing through the previous two steps, Bilbo enters the third step, call to adventure. An overwrought Bilbo unwillingly received a bunch of dwarves who make themselves at home and he really does not know why they come to his burrow. It is Gandalf who explains what his part among

those dwarves whose mission is to reclaim the stolen treasure from the wicked Smaug. Bilbo is given a task as a burglar whose job is to find and open the door of what used to be the dwarf kingdom in the Lonely Mountain. A task in archetype is something that must be done in order to save the day, in this case to restore the glory of the dwarves before it is destroyed by the dragon. Gandalf says that the burglar is someone who possesses stealth and courage to do the job. It is Bilbo‟s call to join forces with the dwarves and become the burglar in a quest full of threat to win what rightfully belongs to those dwarves. Certainly as a very domestic creature, Bilbo adamantly resists that very dangerous call. This is the point where he enters the phase refusal to call. He does not want to exchange the safety and comfort of his lifestyle with an unknown quest which in his eyes only promises perils and troubles. He does not see himself as a burglar or someone who is fit into the adventure. Even the dwarves agree with him that Bilbo is not a qualified person since he is gentle and cannot defend himself from the danger. However, Gandalf insists that Bilbo is most suitable for the task. He has light feet which enable him to move undetected and his smell is undetectable by the dragon unlike the dwarves‟. Furthermore, he also has other qualities supporting his role which, as Gandalf says, even he himself does not know. As a mentor, Gandalf is able to recognize a hero in Bilbo although he is not aware of the fact. The last step in separation is the first threshold. Bilbo finally accepts his task which results he must leave everything behind to have his adventure. There are two thresholds in this stage. First, Bilbo must leave his burrow or we can see it as a cavern which symbolizes a maternal womb. The womb is where a baby is protected from any danger including cold and hunger. By leaving his 44

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 burrow, Bilbo also leaves the safety of a place which provides him comfort and warmth where he never feels cold or hungry. Then, Bilbo needs to leave his Shire or a town which symbolizes a place where everything is certain and in order into unknown realm where everything is unfamiliar for the Halfling who enjoy routine and leisure life. It can be overwhelmming but Bilbo cross those thresholds anyway which shows the first sign of his internal changing.

This is another proof that Bilbo indeed possesses the traits of a hero, vigilant of lurking danger. Inside the caves Bilbo also meets another enemy, a creature that called himself Gollum. Gollum is actually a hobbit who was seduced by the false power of the cursed ring which made him capable of killing his partner in order to seize it. We can consider him as a traitor who was willing to exchange his inno-cence for power. He is manipulative and tries to trap Bilbo to eat him by giving him riddles which Bilbo can solve, as a proof of his wit. A traitor as he is, Gollum does not wish to let Bilbo easily even though Bilbo wins. He chases and tries to capture Bilbo who succeeds in escaping and finally meets his companions. When Bilbo and his companions enter a forest, the representation of a dangerous world full of beast and darkness, they are attacked by a horde of goblins and Wargs (the evil wolves over the Edge of the Wild). Luckily, beside encountering predators that wish to destroy them, Bilbo and his companions meet allies as well. The moment they are cornered and cannot escape their enemies, the Lord of the Eagles decides to help them because he hates the goblins and the Wargs with a passion. He leads a race of birds that are „proud and strong and noble-hearted‟ and always tries to stop the goblins and the Wargs from making destructtions. His intervention helps the group a great deal since even Gandalf cannot do much to bail them out from that dire situation. Another ally that the group meets is Beorn, what Gandalf called as a skin-changer who can shift into several kinds of animals. In archetype, he is considered as the shaman, a character who lives alone or with symbolic animals. His nature is good or neutral and plays a vital part of the hero quest, but is uninvolved with the outcome of events. Beorn lives in an oakwood with animals as the servants in his house. He gives the weary adventurers food

4. The Adventure At this rite, initiation, Bilbo undergoes many hardships and challenges along his quest. There are several steps to describe what Bilbo must get through, one of which is tests, allies, and enemies. During the tests, Bilbo encounters allies who give him guidance and assistance and enemies who seek to destroy him. Those tests also reveal the qualities which make him a hero as he is. Bilbo‟s first test is to scout for the group to ensure the security. The trolls, the representation of the predators in archetype that often come in our nightmares and awaken our fear, manage to capture them and try to eat them but Gandalf finally save them. In this test Bilbo proves that he is courageous by not leaving his companions in time of trouble. He discovers a key to open the trolls‟ cave where the group finds some food, treasure, and weapons that the trolls robbed. The key symbolizes the authority to let in and shut out and to hold a key means to have been initiated. This is the time when Bilbo initiates his transformation from his naïve self into a capable burglar, thus proves himself before his companions. The next test occurs when the group unknowingly enters goblin caves and they are ambushed by the goblins, their next enemies and representation of the predators. Fortunately, because of Bilbo‟s alertness Gandalf is able to escape and later on saves them all. 45

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and shelter so that they can recover themselves. Entering Mirkwood, Bilbo faces other tests. First, he must save his companions from a swarm of giant man-eating spiders with every skill he has. He also shows the traits of a leader while doing the rescue such as courageous, self-sacrificed, and witty. He skillfully uses his elfin-blade and the ring to fight the spiders and create a brilliant tactic so that his companions can make their escape. The same traits are used when he saves his captured companions from Wood-elves which make Thorin change his opinion of Bilbo. He always has a doubt about Bilbo‟ qualities as a burglar, but those rescues prove that he is worthy. The final test which Bilbo faces is when he must enter Smaug‟s lair to steal the dwarves‟ treasure. Using every skill that he gains from the previous tests, he is able to accomplish his task. Smaug‟s lair, formerly the dwarves‟ kingdom is within the Lonely Mountain in the east. A mountain represents a place where earth and heaven meet. It also symbolizes safety, stability, and often human pride. The kingdom in the Lonely Mountain was the pride and joy of the dwarves before Smaug destroyed it. By trying to reclaim their treasure, the dwarves attempt to regain their glory which was built by the fathers before them. The east represents the land of birth or rebirth and of the Sun and Venus. It is associated with renewal, youth, feasting, song, and love. It is the place where Bilbo reborn completely into a hero whom even the Woodelves king admires. Another step in initiation is supreme ordeal. Bilbo and his companions face several “deaths” during their quest. First is when they are rescued from the trolls by Gandalf, then when they can escape the goblins of the Misty Mountains, the Wood-elves, and Smaug. Each of the “death” changes Bilbo from his old self and brings his hidden qualities which support

his important role in the quest. In the end, Bilbo becomes the person Gandalf believes him to be, a hero. Revisiting the mentor happens several times along the story. Gandalf as Bilbo‟s mentor does not always travel with the group. Sometimes he leaves them in order to take care of other matter which quite deflates the group actually. However, in their darkest moments when they seem to not be able to avoid their unfortunate faith, Gandalf always comes to save the day. Each time Gandalf takes his leaves, Bilbo always pays attention to what Gandalf tells him. Just like when Gandalf tells them that Beorn watches over them their way to Mirkwood, Bilbo is the only one who notices there is a big bear, Beorn in guise, following them. Then another time when the group enters Mirkwood, Gandalf warn them not to stray from the path which they ignore. Bilbo is the only one who remembers his warning. He does his best to live to Gandalf‟s expectation and pay attention to his sayings as a good initiate should. The next step is return with new knowledge. Each time Bilbo faces a test, he gains a new knowledge from it. He learns a lot of things during the journey with his companions, such as how to survive and to fight. Bilbo uses the knowledge to accomplish whatever task given to him. Although he gets guides and assistance during the tests he is quite successful which gradually impresses his companions and earns their respect. Bilbo reaches the step seizing the sword (or prize) several times during his quest. He gets his elfin-blade „Sting‟ inside the troll‟s cave and the cursed ring when he faces Gollum in the goblin‟s cave. Gradually he becomes skillful in using those magical items in accomplishing his tasks. In the Battle of Five Armies, a great war between the goblins and Wargs against the dwarves, elves, and men, Bilbo uses the ring and the blade to fight 46

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 the enemies although he does not hold an important part during the war. Even though he is afraid and thinks of escaping, he stands his ground and fights. He also settles the dispute between Thorin and the Lake-town people by giving the Arkestone of Thrain to Bard their leader as the means of negotiation. Bilbo gets the most prized treasure among the sea of treasure in Smaug‟s lair. Thorin considers the stone worth more than a river of gold as it was his father‟s, thus it represents his pride which he holds above all. The last step in initiation is resurrecttion. After the Battle of Five Armies finished, Bilbo lose his companion Thorin but they manage to rekindle before Thorin passes away. After having been battered and bruised all along the quest, Bilbo comes to a point of a final transition. Bilbo transforms into and is recognized as the hero whom everyone respects. Bilbo returns home accompanied by Gandalf. They spend sometime in the Last (or First) Homely Home in the valley of Rivendell to get some rest and recover before he goes home to his Shire. They come to that place on May the first, which is in the spring in Europe. Spring in archetype represents birth or new beginning. Bilbo, indeed, begins his new life as a seasoned adventurer even though will return to his house.

that he minds it. In his opinion, the adventure turns him into a better person and makes him live his life to the fullest. C. CONCLUSION Bilbo Baggins‟s is a life-changing journey which transforms him from an antihero into a real hero. During his quest in helping the dwarves reclaiming their treasure from the evil dragon Smaug, Bilbo experiences some tests, faces many dangers, gain allies and magical items, fights enemies, and suffers from loss; however, he holds his ground and rises as a hero. Bilbo is not a classical hero who everyone recognizes and follows directly as their leader, but he evolves. The changes gradually take place along his journey. He is just like the most of us who do not understand that there is a hero within us, waiting to be recognized and to arise. Our life is a mental and spiritual journey which provides us trials and tribulations as in Bilbo‟s. If we can follow Bilbo‟s path in following his destiny, then our internal hero will surely assist us along our journey.

5. The New Beginning The last rite of passage that Bilbo experiences is return. There is only one step here, returns with elixir. Bilbo takes home the ring that he gets from Gollum and uses it when he wants to escape unwanted guests. He also gets his share of the dwarves‟ treasure and the trolls‟ treasure which he mostly uses to buy presents for his nieces and nephews. But the most important thing for him is his internal transformation from a timid and peaceful hobbit into brave and adventurous one which makes him become a sort of cast out because he is different from the rest of his people, not 47

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REFERENCES Adamski, Adam. „Archetypes and the Collective Unconscious of Carl G. Jung in the Light of Quantum Psychology‟ in Neuro Quantology | September 2011 | Vol 9 | Issue 3 | Page 563‐571. Campbell, Joseph. (2004). The Hero with a Thousand Faces. New Jersey: Princeton University Press Gonçalves, Diogo. Bilbo Baggins: An (Un) expected Hero. Retrieved from www. ler.letras.up.pt/uploads/ficheiros/4293.p df Jung, Carl G. (1969). The Archetypes and the Collective Unconscious. London: Routledge. Ramsdell, Gail and Chapman, Sarah. The Hero‟s Journey, Universal Archetypes: From Ancient to Modern Stories. Retrieved from www.slideshare.net/ mobile/ncmsa/the-heros-journeyuniversal-archetypes-from-ancient-tomodern-stories Sharp, Daryl. (2001). Digesting Jung: Food for the Journey. Toronto: Inner City Books. Tolkien, J. R. R. 1937. The Hobbit, or There and Back Again. United Kingdom: George Allen & Unwin. Wiklander, Cecilia. The Image of Heroism in Tolkien’s The Hobbit. Retrieved fromhttps://gupea.ub.gu.se/bitstream/20 77/25882/1/gupea_2077_25882_1.pdf

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PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 ANALISIS SASTRA FANTASI DALAM DRACULA KARYA BRAM STOKER Masriatin STIBA SATYA WIDYA Abstrak Makalah ini menyajikan analisis novel karya Bram Stoker yang berjudul Dracula dengan mengaplikasikan teori sastra fantasi. Berdasarkan analisis ditemukan setidaknya tiga tema didalam novel Dracula yakni vampir, pemburu menghancurkan kekuatan jahat, dan persahabatan sejati. Dari tema–tema tersebut ditemukan motif–motif yaitu jiwa yang tersiksa, intervensi mimpi dan realita, dan binatang jadi–jadian. Berdasarkan temuan dapat disimpulkan bahwa persiapan, strategi, dan pelaksanaan perburuan dapat menghancurkan kekuatan jahat Dracula. Unsur –unsur cerita fantasi yang terdiri dari tokoh–tokoh, peristiwa–peristiwa, ruang dan waktu saling terkait erat sehingga dapat membangun atau menimbulkan efek fantastik. A. PENDAHULUAN Karya sastra dapat dikategorikan ke dalam berbagai genre, salah satunya adalah sastra fantasi. Tujuan fantasi dalam sastra tidak perlu berbeda dari realitas karena fantasi mestinya tidak dipahami sebagai pelarian dari realitas tetapi sebagai investigasi terhadap realitas itu sendiri. Menurut Apter, (1982: 4) fantasi seringkali dihubungkan dengan kepercayaan dan persepsi yang keliru atau karakteristiknya tidak riil. Penggunaan fantasi tampaknya berbeda dari karakterisasi sastra fantasi, meskipun terdapat persamaan yang menjustifikasi penggunaan istilah yang sama. Karakteristik fantasi berbagi dengan proses tidak sadar tidak mesti menunjukkan penghalangan karakteristik. Sastra fantasi mena-warkan pemenuhan harapan, ketertarikan atau hiburaan belaka, untuk lepas dari asumsi kebia-saan. Jadi fantasi bukanlah suatu alat peng-hiburan dan penyembuhan tetapi sebagai alat meregister kekalahan dan ketakutan. Sebagai genre karya sastra, terhadap sastra fantasi dapat dilakukan analisis seperti karya sastra yang lain. Tentu saja jika menganalisis sastra fantasi perlu memperhatikan unsur yang terdapat di dalamnya dan juga fungsinya.

Menurut Prihatmi (dalam Sariban, 2009: 51), konsep fantasi memiliki dua arti : umum dan khusus. Fantasi secara umum adalah semua aktifitas imajiner. Semua karya sastra adalah fantasi. Fantasi dalam pengertian khusus memiliki arti bahwa semua karya yang tidak disajikan secara realis, yaitu : mite, legenda, dongeng rakyat atau dongeng peri, alegori-alegori khayal, rekaan-rekaan impian, cerita-cerita mengerikan, yang keseruannya menyajikan bidang-bidang yang „lain‟ dari yang dikenal. Berdasarkan konsep sastra fantasi di atas, novel Dracula karya Bram Stoker termasuk karya sastra fantasi dalam arti khusus yaitu cerita yang mengerikan. Berikut akan dilakukan analisis pada karya tersebut yang difokuskan pada motif/tema dan unsur-unsur cerita fantasi. Adapun pemilihan focus berlandaskan pra ana-lisis ketika membaca novel Dracula ditemukan motif/tema yang menonjol yaitu vampir. Semen-tara itu unsur cerita fantasi seperti ruang dan peristiwanya, adalah salah satu unsur yang juga menonjol.

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cerita fantasi mampu mempengaruhi pembaca untuk percaya pada apa yang disajikan bersama unsur-unsurnya. Dengan kata lain ini adalah masalah bagaimana penulis cerita fantasi “make believe” pembacanya.

B. PEMBAHASAN DAN ANALISIS 1. Konsep Sastra Fantasi Di dalam buku Forster, (1955) yang berjudul Aspects of the Novel, disebutkan bahwa terdapat tujuh aspek novel yaitu the story, people, people (continued), the plot, fantasy, prophecy, and pattern+rhytm. Jadi fantasi adalah salah satu aspek. Sementara itu Djokosujatno, (2005) menggunakan istilah fantastik dan Apter, (1965) menggunakan kata fantasy. Untuk selanjutnya kata fantasi yang akan digunakan untuk maksud yang sama agar konsisten. Tentang cerita fantasi Castex (Djokosujatno, 2005: 5) mendefinisikan : Sebaliknya cerita fantasi ditandai oleh lintasan suatu misteri yang tiba-tiba dan tak terduga, yang terjadi dalam kerangka kehidupan nyata; cerita fantastik umumnya berhubungan dengan suatu keadaan psikis yang tidak sehat, gejala mimpi buruk atau delirium, yang memproyeksikan gambaran-gambaran kekhawatiran atau ketakutannya. Dari definisi tersebut dapat dicermati penanda cerita fantasi. Setiap definisi yang ada memperlihatkan keterbatasan dan kekurangan, mungkin karena mewakili korpus yang menjadi sumbernya. Karena itu makna fantasi tidak mudah difahami dan bisa bervariasi tergantung dari bagaimana pembaca memahami cerita fantasi itu sendiri. Hal tersebut juga dipengaruhi oleh pengalaman-pengalaman yang terjadi di dalam kehidupan pembaca. Sementara itu Forster (1955:112) menjelaskan bahwa fantasi mengandung konsep alam gaib tetapi tidak perlu dinyatakan secra gamblang. Yang penting bagaimana penulis cerita fantasi dapat membawa pembacanya ke alam gaib, ke zaman yang akan datang atau ke zaman lampau, ke dalam bumi atau bahkan ke alam yang berdimensi empat. Pembawaan ke zaman tersebut tetap terjalin dengan masa kini sehingga tampak alami dan tidak terlalu dibuatbuat. Jadi ini adalah masalah bagaimana penulis

2. Motif dan Tema Fantasi. Di dalam pendahuluan telah disebutkan bahwa fokus analisis ialah motif dan tema serta unsur-unsur cerita fantastis. Berkenaan dengn motif dan tema, Caillois (Djokosujanto, 2005: 53) membuat daftar sebagai berikut: perjanjian dengan setan, jiwa yang tersiksa, roh yang dihukum untuk hidup abadi, orang mati yang hidup kembali, hal tak terlihat yang bisa membunuh, Intervensi mimpi dan realita, rumah atau hunian yang lenyap dari ruang, hentian atau pengulangan. Sedangkan Penzoldt berpendapat bahwa fantasi adalah perwujudan arketip-arketip yang menakutkan dalam sastra, membuat daftar motif sebagai berikut: setan, hantu, vampire, serigala jadi-jadian, wanita penyihir, makhluk tak terlihat, hantu binatang, makhluk-makhluk dalam fiksi ilmiah dan fantasi psikologis. Selaras dengan apa yang disampaikan oleh Caillois dan Penzoldt, Forster (1955: 112) menjelaskan bahwa fantasi mengandung konsep alam gaib, tetapi tidak dnyatakan dan kalau ada fungsinya diguakan oleh penulis cerita fantasi dengan cara memperkenalkan dewa, hantu, bidadari, kera, monster, manusia cebol yang aneh, nenek sihir dalam kehidupan sehari-hari; ataupun membawa manusia biasa ke alam gaib, ke alam yang akan datang, ke zaman lampau, ke dalam bumi, ke alam empat dimensi ataupun menyelami dan menganalisis pribadi manusia; dan juga kaidah penciptaan parodi atau penyesuaiannya. Kaidah-kaidah tersebut tidak perlu menjadi basi karena secara alami akan terjadi pada penulis dengan temperamen tertentu dan diletakkan pada penggunaan yang lebih baru. Tetapi fakta bahwa jumlahnya sangat terbatas inipun merupakan daya tarik. Karena itu pence-

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PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 rahan ini hanya dapat dimanipulasi dengan cara tertentu. Motif dan tema dalam sebuah cerita tidak pernah berdiri sendiri. Dan dalam keadaan terpisah seringkali tidak dapat menimbulkan kesan fantastik yang relative kuat. Agar menimbulkan kesan fantastik, motif dan tema membutuhkan sejumlah atribut atau detail atau deskripsi khusus. Selain itu penting sekali adanya dekor realis yang dibangun dari tema-tema realis dan unsur-unsur cerita lain: tokoh, peristiwa, ruang dan waktu–yang ditata dan disajikan dengan uraian atau detil yang memadai untuk menim-bulkan kesan riil (Djokosujatno, 2005:25). Unsur-unsur tersebut akan ditinjau lebih detil berikut ini.

pada waktu nyata atau waktu historis. Kesan riil menuntut alur yang ketat, sebab akibat. Oleh karena itu cerita fantasi umumnya menyajikan rangkaian peristiwa yang sederhana, tetapi mempunyai kausalitas yang kuat, yang secara keseluruhan dapat diringkas dengan mudah. Ruang selain membangun dunia riil, juga sering berfungsi untuk menciptakan kesan seram. Ruang fantasi adalah ruang yang terpencil, terpisah dari dunia ramai. Meskipun tidak harus tetutup, ruang selalu membuat tokoh merasa terjebak, terperangkap, tak dapat keluar dari situ. Biasanya tokoh seakan tergiring ke ruang tersebut oleh suatu dorongan atau panggilan hati yang tak bisa dipahaminya. Pengarang Barat suka menggunakan daerah luar kota sebagai latar cerita, kediaman atau puri-puri kuno dalam cerita fantasi mereka. Sedangkan waktu fantasi yang paling hebat adalah malam hari ketika cahaya menimbulkan bayangan-bayangan aneh pada semua benda dan dunia menjadi wingit dan serasa bukan milik manusia. Termasuk di dalamnya adalah waktu-waktu antara siang hari dan malam hari, yaitu senja hari, yang dianggap “sandi kala”. Waktu fantasi adalah juga waktu yang durasinya tidak masuk akal. Lebih banyak lagi tema fantasi menyangkut waktu yang dapat ditemukan dalam cerita fantasi Barat yang memanfaatkan semua keunggulan dari persilangan, paralelisme, maupun kelenyapan waktu. Berdasarkan fokus yang sudah ditetapkan dalam pendahuluan dan konsep/teori fantasi yang telah ditinjau, analisis cerita fantasi dalam novel Dracula karya Bram Stoker dideskripsikan sebagai berikut.

3. Tokoh, Peristiwa, Ruang, dan Waktu Tokoh dalam cerita fantasi biasanya mengisi peran-peran tertentu, sebagai korban peristiwa fantastik, tokoh yang mendengar cerita tentang sesuatu peristiwa fantastik yang dialami tokoh lain, atau yang menyaksikan dan mengalami peristiwa supranatural (tetapi tidak percaya meskipun merasa ketakutan), dan sebagai penutur. Biasanya dalam cerita fantasi, dipertentangkan antara tokoh yang percaya akan hal-hal supranatural dan yang tidak percaya. Dan meskipun perbandingan jumlah tokoh yang percaya dan tidak percaya tidak proporsional, perbedaan tokoh itu tetap meninggalkan keraguan, Tokoh yang mengalami gangguan psikis juga sering ditemukan dalam genre fantasi, misalnya gangguan mimpi dan halusinasi yang parah. Tokohtokoh tua yang menimbulkan kesan kuno, arkais sering dipertentangkan dengan tokoh yang berkesan modern dan aktual. Tokoh yang sakit sekali menjadi pucat, tidak bergerak, dan membisu juga menimbulkan efek bukan manusia hidup dan bukan dari dunia kita; apalagi tokoh vampir yang juga hidup dari abad ke abad dan tampak muda dan perkasa. Sementara itu, ruang diterima pembaca sebagai ruang yang sangat riil karena merujuk

4. Motif dan Tema Di dalam novel Dracula setidaknya dapat diketengahkan tiga tema yaitu vampir, perburuan menghancurkan kuasa jahatnya dan persahabatan sejati. Tema-tema tersebut merupakan akumulasi dari berbagai motif. Atau dengan kata lain dari motif-motif yang ditemukan 51

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dalam Dracula terbentuklah tema. Dari sinilah analisis dimulai dengan motif jiwa yang tersiksa keta-kutan, kengerian dan mengakibatkan shock. Hal tersebut dialami Jonathan Harker yang ditugasi oleh firma tempat dia bekerja. Jonathan diutus untuk menemui seseorang bernama Count Dracula. Di dalam perjalanan dia mengalami kejadian-kejadian aneh dan mengerikan mulai dari suami istri yang menyambutnya dengan ketakutan di hotel singgah sebelum melanjutkan perjalanan ke puri Dracula; anjinganjing dan serigala yang melolong menakutkan, kusir kereta kuda penjemputnya yang misterius sampai pada mimpi buruk terus menerus dalam tidurnya. Apa yang dialami begitu menakutkan seperti yang dia gambarkan sebagai berikut: “Aku merasa tubuhku menjadi, lumpuh karena ketakutan. Semuanya begitu aneh mengerikan hingga aku dilanda rasa takut dan tak berani bergerak atau

bagai contoh dapat dilihat dari apa yang dialami Lucy berikut ini. “… mimpi buruk itu dengan suarasuara yang membuatku ketakutan setengah mati/suara-suara kepak sayap pada jendela, suara-suara di tempat jauh yang seolah dekat, suara keras entah berasal dari mana memerintahkan untuk melakukan entah apa …“ (Stoker, 2009 :194). Mimpi-mimpi buruk itu juga amat mengganggu Jonathan dan Mina. Mereka mengalaminya tetapi tidak bisa menyentuhnya, tak bisa menimbang atau mengukurnya. Rasa takut yang ditimbulkan mimpi tersebut tak terbantahkan. Itulah efek mimpi buruk dimana drakula memberi suatu peringatan, alarm yang tak nyata tapi ada, gaung yang halus namun mengganggu yang tak tertangkap oleh akal sehat kita, yang tertangkap dengan nyaring dan jelas oleh organ-organ bawah sadar mereka. Motif berikutnya adalah binatang jadijadian. Di dalam novel Dracula ini binatang jadijadian yang muncul adalah tikus, anjing dan serigala. Tikus dalam jumlah ribuan tiba-tiba mun-cul dan menghilang ketika para pemburu Count berhasil mendobrak tempat tinggalnya yang baru di London. Tentu saja ini menimbulkan efek yang menakutkan. Sementara itu gonggongan anjing muncul tanpa benar-benar terlihat anjingnya. Ditambah lagi dengan lolongan serigala yang membuat miris. Dibanding dengan tikus dan anjing, serigala ini mendominasi di dalam pemun-culannya. Dengan situasi yang mendukung misalnya munculnya selalu di malam hari ketika tidak ada sinar rembulan, dan dalam suasana sepi, maka lolongan serigala benarbenar dapat mendirikan bulu kuduk, seperti berikut: “Sebaliknya, suara lolongan serigalaserigala terdengar makin lama makin dekat seolah-olah binatang-binatang itu mengepung kami dari segala arah. Aku

berbicara” (Stoker, 2009: 32).

Perasaan takut, ngeri, dan shock juga dialami Lucy setelah kejadian di pekuburan ketika dia yang mempunyai kelainan tidur sambil berjalan dan secara tidak sadar telah diisap darahnya. Sementara itu Renfield pasien Dr. Seward pada saat-saat tertentu mengamuk dan tak terkendali. Sedangkan nakhoda kapal sebelum meninggal juga mengalami kengerian luar biasa. Perasaan yang sama juga dialami oleh perawat rumah sakit dimana Lucy dan Ibunya dirawat. Mereka semua mengalami shock berat yang merusak jiwanya. Motif lain yang masih berhubungan erat dengan motif jiwa yang tersiksa ialah intervensi mimpi dan realita, yang paling dominan mengalaminya ialah Jonathan, Lucy dan Mina. Dapat dipahami kenapa mereka bertiga yang paling sering mengalami mimpi-mimpi buruk dalam tidurnya karena mereka adalah korban. Jonathan seringkali mengalami mimpi buruk ketika dia terperangkap di puri Count Dracula. Bagaimana mimpi-mimpi buruk itu terjadi se52

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 menjadi takut begitu pula kuda-kuda”. (Stoker, 2009: 30). Sementara itu motif orang mati yang hidup kembali perlu diberi penjelasan yang lebih gamblang. Dari satu sisi bisa saja motif ini tumpang tindih dengan motif vampir karena hidupnya kembali orang yang sudah mati tadi memang untuk mencari mangsa dengan menghisap darah manusia hidup. Untuk kepentingan analisis motif yang bervariasi, masing-masing akan dideskripsikan sendiri-sendiri. Motif manusia mati hidup kembali ini mengarah pada Lucy. “Napas Lucy kembali mendengkur, dan tiba-tiba berhenti sama sekali. Su-dah berakhir, kata Van Hesling. Dia sudah tiada“ (Stoker, 2009: 227) “Matiku sendiri serasa membeku, dan kudengar Arthur tersedak waktu kami mengenali ciri-ciri Lucy Westenra pada sosok putih yang bergerak maju” (Stoker, 2009: 295) Dari teks di atas dapat dijelaskan bahwa Lucy sudah mati. Tetapi ketika Van Hesling dengan kawan-kawan membuka peti mati Lucy – peti itu kosong. Selanjutnya mereka mengintai dan menemukan Lucy kembali lagi ke peti itu. Pada saat itu mereka belum dapat percaya bahwa Lucy berubah aneh. Tetapi faktanya Lucy yang sudah mati, hidup kembali. Contoh temuan motif dari tema vampir adalah motif vampir itu sendiri. Ditemukan 3 vampir di dalam novel ini ialah Count Dracula, vampir 3 wanita dan vampir Lucy. Untuk 2 yang disebut terdahulu memang tidak diketahui asal-muasalnya mereka menjadi vampir. Seperti yang telah disebutkan diatas bahwa untuk Lucy bisa dimasukkan pada motif vampir. Proses menjadi vampir Lucy berawal dari kebiasaan Lucy tidur sambil berjalan. Ketika itu Mina sedang berkunjung ke rumah Lucy. Dia mendapati Lucy tidak ada di dalam kamar dan berusaha mencarinya dan menemukan Lucy dalam tidurnya berjalan menuju makam pada malam

hari. Pada saat itulah tanpa sadar dia telah dihisap darahnya oleh vampir Dracula. “Lubang-lubang pada leher anak-anak itu dibuat oleh miss Lucy” (Stoker, 2009 : 271) Dan kutipan di atas dapat diketahui bahwa Lucy akhirnya yang menjadi vampir sama seperti Count dan tiga wanita vampir yang pernah menggoda Jonathan ketika sedang berada di Puri Count Dracula. Dracula ini bisa menjadi manusia biasa tetapi dengan penampilan fisik yang aneh. Dia bisa merubah dirinya dengan kelelawar, atau sinar bulan, dengan kemunculan setelah matahari terbenam. Demikian tiga vampir wanita yang berada di puri Count. Selanjutnya dari tema perburuan untuk menghancurkan kuasa jahatnya dapat ditemukan beberapa contoh motif. Seperti diketahui dari novel Dracula bahwa ada enam orang yang berani menghadapi Count dan bertekad memburunya. Mereka adalah Mina Haker yang keberaniannya telah menyelamatkan suaminya dari kegilaan, Jonathan. Harlan, penasihat hukum yang tanpa sadar telah membuka jalan baginya, Dr. John Sevard dan Lord Goldaming yang terpaksa membunuh wanita sama-sama mereka cintai, dan professor Abraham Van Hesling satu-satunya orang yang mengetahui kekuatan Dracula serta bahaya yang mengancam hidup dan jiwa mereka. Hanya dialah yang tahu apa artinya menantang kejahatan Dracula. Dalam perburuan ini, motif persiapan dan strategi perburuan disusun, baru setelah itu dilaksanakan. Mereka mempersiapkan segala sesuatu dengan cermat. Mereka juga berbagi tugas dan mengatur strategi yang tepatnya seperti tergambar dalam kutipan berikut: “Setelah melihat dengan cepat ke sekelilingnya, ia langsung mengatur serangan, dan tanpa mengucap sepatah katapun hanya dengan isyarat saja, ditempatkannya kami pada posisi masing-masing. Aku, Van Hesling, dan Harker harus berdiri tepat di belakang pintu, sehingga bila pintu terbuka, pro53

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fessor menghadangnya, sedangkan kami berdua harus berdiri di antara orang yang masuk itu dengan pintu. Goldaming di belakang dan Quency di depan, berdiri di tempat yang tak kelihatan, siap untuk menyerang di jendela.” (Stoker, 2009: 421) Sebelum mereka menyusun strategi penyerangan seperti diatas mereka juga sudah membicarakan bagaimana caranya membunuh Dracula: yaitu dengan cara memotong kepalanya dan menusuk jantungnya. Cara ini juga dipergunakan ketika membunuh Lucy. Ruparupanya dari Van Hesling mereka tahu bahwa itulah satu-satunya cara untuk membunuh vampir tersebut. Tema lain yang dapat diketengahkan adalah persahabatan sejati. Dari tema persahabatan sejati ini dapat ditemukan setidaknya dua motif yaitu kesetiaan dan keikhlasan. Dari keenam orang yang sudah diceritakan di atas, empat orang laki-laki telah menyumbangkan darah kepada Lucy dengan ikhlas atas nama persahabatan. Yang paling mengharukan adalah apa yang dilakukan oleh Van Hesling. Dia berada di kota lain tapi dengan senang hati, datang dan membantu temannya, seperti yang dapat kita pahami dari kutipan berikut: “…. Aku ingin segera mendatangi temanku begitu ia memintakan datang untuk orang yang disayanginya. Ceritakan pada temanmu itu bahwa kau pernah mengisap racun dilukaku. Katakan padanya bahwa jasamu padanya untuk segera minta bantuanku saat ia membutuhkannya lebih besar artinya dari pada seluruh hartanya.” (Stoker, 2009: 164) Dari keseluruhan cerita setelah kese-diaan Van Helsing untuk membantu memang dapat diketahui bagaimana totalitas professor ini dalam membantu teman yang sedang dalam kesulitan. Hal tersebut terjadi baik ketika Lucy sakit/meninggal, cara untuk membebaskan

Lucy dari menjadi vampir dengan membunuhnya. Demikian juga betapa mereka berteman saling mendukung ketika Mina dalam keadaan gawat. 5. Tokoh, peristiwa, ruang, dan waktu Berdasarkan konsep yang telah dikaji di depan, unsur cerita fantasi dapat difokuskan pada tokoh, peristiwa, ruang, dan waktu. Jika tokoh dipilah dari yang mengisi peran menjadi korban peristiwa fantastik adalah Jonathan, Lucy, dan Mina. Peristiwa yang dialami Jonathan terjebak di Puri Count Dracula membuatnya shock dan hampir gila. Kabar sakitnya Jonathan dikirim melalui surat oleh seorang suster bernama Agatha. “Saya menulis mewakili Dr. Jonathan Harker yang belum kuat menulis, meskipun berkat perawatan di St. Joseph dan St. Mary, kesehatannya sudah mengalami kemajuan. Sudah hampir enam minggu ia berada dalam perawatan kami, karena menderita demam otak hebat.” (Stoker, 2009: 146) Kabar itu jugalah yang membuat Mina berangkat ke rumah sakit dimana Dr. Jonathan dirawat. Di rumah sakit inilah mereka berdua menikah. Mina menemani, merawat, menjaga, dan membesarkan hati Jonathan. Jonathan juga menyerahkan buku catatan harian tentang apa yang dialami di Puri Count Dracula dengan satu permintaan untuk tidak dibuka dan digunakan, kecuali dalam keadaan yang memang betulbetul diperlukan. Berkat kesetiaan Mina merawatnya dengan kasih sayang dan cinta akhirnya Jonathan terbebas dari penyakit yang menekan psikisnya. Berbeda dengan apa yang dialami Lucy. Dia adalah korban yang diisap darahnya oleh Dracula yang akhirnya juga membawa dia menjadi vampir yang menghisap darah anakanak. Proses sampai Lucy menjadi korban memang berliku: mulai darahnya diisap Dracula, sakit dan meninggal, menjadi vampir 54

PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 penghisap darah anak-anak, dan akhirnya dibunuh oleh orang-orang yang mencintainya supaya dapat mati normal. “Anak itu bisa menderita luka kecil di lehernya seperti terlihat pula pada anak-anak lain dalam peristiwa yang sebelumnya. Setelah sembuh, dia juga punya cerita yang sama, yaitu bahwa dia dilahirkan oleh “setan wanita”. (Stoker, 2009: 249) Tokoh lain yang menjadi korban adalah Mina Harker. Dia juga berbeda dengan apa yang dialami oleh Lucy. Mina menjadi korban justru ketika dia sedang ikut membantu pemburuan Dracula. Memang akibatnya tidak separah Lucy, tetapi meninggalkan tanda di dahinya yang me-mbuatnya shock berat. Demikian juga dengan Jonathan dan teman-teman lainnya. Bahkan dia juga merasa ikut terkena pengaruh vampir itu. Inilah yang terjadi pada Mina. “Tangan itu mencengkeram leher wanita itu menunduk sampai ke dadanya. Pakaian tidur Mrs. Haker yang pu-tih berlumuran darah, dan darah itu mengalir ke dada telanjang Count yang kemejanya terbuka.” (Stoker, 2009: 389) Sementara itu tokoh-tokoh lain yang tidak menjadi korban, tapi malah berusaha menyelamatkan korban, ialah Quency Morris, Lord Goldaming dan Dr. John Seward. Mereka bersama Jonathan dan Arthur akhirnya bekerja sama untuk memusnahkan Dracula. Sosok Dracula ini berkali-kali digambarkan dengan detil oleh Jonathan. “Susunan tubuh dan wajahnya unik–bergaris keras sekali, hidungnya bengkok, batang hidungnya lebar sedangkan cuping hidungnya melengkung. Dahinya tinggi, rambutnya lebat, tapi pada pelipisnya tipis. Alisnya tebal sekali, hampir bertemu di atas hidungnya, seperti senah yang melingkar-lingkar. Mulutnya sejauh yang dapat kulihat melalui kumisnya yang lebat, kaku dan tampak kejam.

Giginya berbentuk aneh, tajam dan putih, serta menjorok keluar dari bibirnya yang merah dan segar sekali, suatu hal yang mengejutkan, karena menunjukkan tenaga hidup yang besar, padahal ia sudah berumur. Telinganya pucat, dan bagian atasnya runcing sekali, dagunya lebar dan kokoh, sedangkan pipinya kencang, namun tirus. Secara umum, ia sangat pucat waktu tangannya diletakkan di atas lutut dan kena cahaya api, kulihat punggung tangannya putih dan halus. Tapi setelah kulihat dari dekat, ternyata tangan itu kasar, telapak tangannya lebar, dan jemarinya bengkok. Yang paling aneh, ditengah-tengah telapak tangannya tumbuh rambut. Kukunya panjang dan halus, di potong sangat runcingnya. Waktu Count membungkukkan tubuh ke arahku dan menyentuh tubuhku, aku bergidik tanpa bisa ditahan, napasnya berbau busuk hingga aku merasa amat mual.” (Stoker, 2009: 38) Adapun unsur cerita yang berikutnya adalah garis besar peristiwa-peristiwa penting yang terjadi di dalam novel Dracula adalah sebagai berikut. 1. Keberadaan Jonathan Harker di Puri Dracula karena ditugasi oleh perusahaan di mana dia bekerja. 2. Pertemuan dengan Count Dracula dengan keanehan, ketakutan dan kengerian menyebabkan dia shock hebat sampai harus dirawat di rumah sakit. 3. Kedatangan Mina di rumah sakit, pernikahan mereka, dan penyerahan buku catatan harian Jonathan kepada Mina yang kelak menjadi dokumen penting. 4. Sakitnya Lucy karena dihisap Count, meninggalnya dia dan menjelma menjadi vampir yang mengisap darah anak-anak kecil, dan dibunuhnya Lucy untuk menyelamatkan dia dari kemautan yang tidak wajar. 55

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5. Bantuan teman-teman Lucy yaitu Mina Dr. Seward Van Helsing, Quince Morris, dan juga Arthur tunangannya serta Jonathan suami Mina dalam rangka menyelamatkan Lucy. 6. Perburuan enam sekawan di atas untuk menghancurkan kuasa jahat Dracula. 7. Di tengah usaha keras mereka dalam butir 6 tersebut, Mina juga menjadi korban Count Dracula. 8. Hal tersebut (butir 7) makin membulatkan tekad mereka untuk menghancurkan Dracula. 9. Penjurusan strategi dan pelaksanaannya untuk membunuh Dracula. 10. Keberhasilan mereka membunuh Dracula yang berarti juga menghancurkan juga kuasa jahatnya. Peristiwa-peristiwa tersebut di atas tentu saja tidak dapat berdiri sendiri. Efek fantastik dari peristiwa-peristiwa itu sangat erat kaitannya dengan ruang dan waktu terjadinya peristiwa. Keanehan-keanehan yang muncul di dalam peristiwa, ruang, dan waktu juga memberikan manusia kengerian yang ditimbulkan olehnya. Ruang dan waktu di dalam novel Dracula akan di identifikasi dan dideskripsikan secara singkat untuk menunjukkan keterkaitannya dengan peristiwa-peristiwa yang telah dipaparkan sebelumnya. Dengan asumsi bahwa ruang dan waktu juga berkaitan sangat erat maka di dalam mendeskripsikan keduanya tidak dipisahkan sebagai subbagian. Identifikasi dan deskripsi ruang dan waktu disajikan sebagai berikut: 1. Tempat-tempat yang dilalui atau disinggahi ketika Jonathan dalam perjalanan menuju puri Dracula. - senja sudah larut malam di Bistriz - hotel singgah bernama Golden Krone Hotel bertepatan dengan malam hari St. George di mana saat jam berbunyi pada tengah malam semua yang jahat di dunia ini akan bebas merdeka

Di dalam perjalanan tersebut juga terjadi keanehan-keanehan yang menimbulkan ketakutan dan kengerian. 2. Puri Count Dracula Puri tua berumur ratusan tahun dengan kesan gotik yang belokasi terpencil menjulang tinggi di perbukitan yang dikelilingi oleh pohon-pohon tua yang memberi kesan suram dengan tidak adanya lampu penerang halaman. Keanehan terjadi misalnya tidak tampak adanya orang selain Count dan juga tidak di-temukan cermin di kamar maupun di tempat lain yang terlihat. Di samping itu juga Count Dracula selalu meninggalkan tempat ketika matahari terbenam dan datang ketika matahari terbit. Di puri ini juga Jonathan “digoda” oleh tiga wanita cantik tapi aneh yang ternyata juga vampir. 3. Kapal di laut di mana Count berada di situ. Kengerian muncul karena pada malam hari awak kapal ketakutan dan bahkan ada yang mati dan bahkan nahkodanya juga mati. 4. Kuburan dimana Lucy pertama kali diisap darahnya oleh vampir dan juga kuburan tempat dimakamkan dan kekar masuk dari peti matinya sebagai vampir. 5. Sanatorium di mana Dr. Seward bekerja dan mempunyai pasien khusus bernama Renfield yang terkena pengaruh jahat. 6. Rumah persembunyian Count Dracula yang berada di belakang Sanatorium dimana terjadi pengepungan oleh enam sekawan di tempat tersebut. Demikianlah tokoh-tokoh, peristiwaperistiwa, ruang, dan waktu yang saling berkaitan yang merupakan unsur-unsur cerita fantasi. unsur-unsur tersebut di dalam novel Dracula sangat kuat seolah-olah memberi efek mimpi buruk dimana impian seolah-olah nyata, dan kenyataan seolah-olah mimpi yang mengganggu perasaan kejiwaan para tokohnya.

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PROSPECTS, Jurnal Humaniora, Sains, Pendidikan dan Pengajaran, Volume 5, Nomor 2, 1-7, Nopember 2015. ISSN 2302-6278 C. SIMPULAN Dari pembahasan di atas dapatlah diambil kesimpulan sebagai berikut: Setidaknya dapat ditemukan tiga tema di dalam novel Dracula yakni vampir, perburuan menghancurkan kekuatan jahatnya, dan persahabatan sejati. Dari tema pertama ditemukan motifmotif yaitu jiwa yang tersiksa, intervensi mimpi dan realita, dan binatang jadi-jadian. Sedangkan dari tema kedua ditemukan motif-motif Persiapan dan strategi perburuan, serta pelaksanaan perburuan untuk menghancurkan kekuatan jahat Dracula. Sementara itu, dari unsur-unsur cerita fantasi yang terdiri dari tokoh-tokoh, peristiwaperistiwa, ruang dan waktu saling terkait erat yang dapat membangun atau menimbulkan efek fantastik. KEPUSTAKAAN Apter, T.E. 1982. Fantasy Literature. London: The Macmillen Press, ttd Djokosujatno. Aspanti. 2005. Cerita Fantastik Dalam Perspektif Genetik Struktural. Yogyakarta: Djambatan Forster, E.M. 1955. Aspects of the Novel. United States of America: Harcourt, Inc. Sariban, 2009. Teori dan Penerapan Penelitian Sastra. Surabaya: Lentera Cendekia Stoker, Bram. 2009. Dracula. Jakarta: PT Gramedia Pustaka Utama

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